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Articles: Digital Photography Review (dpreview.com)
Posts Tagged ‘Canon’s’
Video: A ‘Retro Review’ of the 20-year-old Canon Pro90 IS, Canon’s first digital camera with optical image stabilization
12
Jun
Gordon Laing, Editor of Camera Labs, is back again with another episode of ‘Retro Review.’ In this video, he puts the Canon Pro90 to the test to see how well it holds up two decades after it was released.
At the time of its release, the Canon Pro90 IS was Canon’s flagship PowerShot camera. It retailed for $ 1,300, used a 3.3MP sensor and had a design similar to its Pro70 predecessor, but featured a 10x zoom lens compared to the 2.5x zoom lens on the Pro70. It was also Canon’s first camera with optical image stabilization.
As impressive as the optics were though, the camera had an interesting design quirk—the image circle of the lens didn’t fully cover the 1/1.8″ sensor, so the resulting images were digitally cropped down to just 2.6MP. Incredibly, the camera featured a Raw capture mode though, in addition to JPEG support (with various compression ratios) as well as QVGA (329 x 240 pixel) video recording.
To find out more, set some time aside to watch the entire 12 minute video. To see more Retro Review content and other interesting insights on vintage tech, head over and subscribe to Laing’s Dino Bytes YouTube Channel.
Articles: Digital Photography Review (dpreview.com)
Canon’s EOS R5 gets C-Log 3, 120 fps Full HD shooting with 1.3.0 firmware update
30
Mar
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Canon has released firmware updates for its EOS R5, EOS R6, and EOS 1D X Mark III camera systems, bringing new features and improvements, especially for its EOS R5 mirrorless camera.
EOS R5
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Firmware version 1.3.0 for the Canon EOS R5 brings Canon Log 3 shooting to Canon’s current flagship mirrorless camera. Canon Log 3, commonly shortened to C-Log 3, is available in Canon’s Cinema EOS Series cameras and is a ‘logarithmic gamma curve designed to achieve very wide dynamic ranges and be compatible with cinema production workflows.’ This addition not only adds more flexibility to footage captured with the EOS R5 as a standalone camera, but should also make it easier to color match EOS R5 footage when used in conjunction with Canon’s Cinema EOS Series cameras.
Canon has also added Full HD recording at up to 120 frames per second (fps) as well as a new Low Bitrate recording option, which Canon says allows ‘users to shoot smaller file size footage with lower image details.’
Other updates in the updated include electronic full-time manual focus, a new LCD backlight off option, an FTP transfer status display, protected image transfer, save/load settings on card and a few bug fixes.
You can download firmware version 1.3.0 for the Canon EOS R5 using the link below:
Firmware version 1.3.0 for the Canon EOS R5
EOS R6
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Firmware version 1.3.0 for the Canon EOS R6 isn’t quite as dramatic as it is for Canon’s EOS R5, but it still adds the low bitrate recording option, electronic full-time manual focus, the FTP transfer status display and bug fixes.
You can download firmware version 1.3.0 for the Canon EOS R6 using the link below:
Firmware version 1.3.0 for the Canon EOS R6
EOS-1D X Mark III
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Firmware version 1.4.0 for Canon’s latest flagship DSLR adds the same low bitrate recording mode found in the EOS R5 and EOS R6 firmware updates, as well as the FTP transfer status display. Canon has also improved the connection reliability when using FTP and USB simultaneously.
You can download firmware version 1.3.0 for the Canon EOS-1D X Mark III using the link below:
Firmware version 1.4.0 for the Canon EOS-1D X Mark III
Articles: Digital Photography Review (dpreview.com)
Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8
09
Nov
The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Last Tuesday, Canon announced two new RF lenses:
The Canon 70-200mm f/4L IS USM and the Canon 50mm f/1.8 STM.
Both of these lenses will ship in the first half of December, though they’re currently available for preorder ($ 1599 USD for the 70-200mm f/4L IS and $ 199.99 USD for the 50mm f/1.8).
The new lenses will undoubtedly appeal to the many Canon photographers who have already embraced the EOS R system, especially those who are looking for cheaper alternatives to the existing RF 70-200mm f/2.8 IS and the RF 50mm f/1.2.
In fact, the 70-200mm f/4 and the 50mm f/1.8 have already garnered something of a reputation, thanks to their top-notch EF equivalents. The EF 70-200mm f/4L IS, for instance, is a high-quality, reasonably-priced option for landscape photographers, amateur portrait photographers, and more – while the EF 50mm f/1.8 STM is just about the handiest Canon lens you can own, combining optical prowess with affordability and compactness.
And while the RF 70-200mm and the RF 50mm f/1.8 won’t be quite as cheap as their EF counterparts, they’re certainly cheap enough to draw Canon photographers of all stripes, including a mix of professionals and hobbyists (for the 70-200mm f/4), as well as amateurs (for the 50mm f/1.8).
Plus, Canon has added several significant upgrades to these RF lenses. The 70-200mm f/4L IS, for instance, will offer up to 5 stops of image stabilization, which expands to 7.5 stops when combined with in-body image stabilization. It’s also Canon’s “shortest and lightest 70-200mm f/4 zoom lens to date,” making it an even more compelling option for landscape photographers who hike for hours on end.
As for the RF 50mm f/1.8:
You get the ultra-useful 50mm focal length for just $ 200 USD, not to mention the Canon RF lens control ring (which you can use to tweak camera settings on the fly). And the lens will be both compact and light – in other words, perfect for a casual photographer, or even a street photographer, looking to fire off shots without attracting much attention.
So if you’re after an affordable, high-quality lens with a wide maximum aperture and great ergonomics, check out the Canon RF 50mm f/1.8 STM, which is available for preorder for just under $ 200 USD.
Alternatively, if you’re hoping to capture gorgeous landscapes, portraits, or even outdoor event photos without breaking the bank, you can preorder the Canon 70-200mm f/4L IS USM here for $ 1599 USD.
The post Canon’s Exciting New RF Lenses: The 70-200mm f/4 and 50mm f/1.8 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Canon’s new ML-100, ML-105 industrial cameras can reach ISO 4.5 million
05
Nov
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Canon has announced the release of the ML-100 and ML-105 Multipurpose Cameras, a pair of industrial-use cameras that offer extremely low light imaging capabilities in small, modular form factors.
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Both the ML-100 and ML-105 use a next-generation 19um 35mm full-frame CMOS sensor. The sensor can capture Full HD (1080p) with a subject illumination of less than 0.0005 lux when set to their maximum 75dB gain setting (equivalent to roughly 4.5M ISO).
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| ML-100 | ML-105 |
The two units are differentiated by lens mounts and video output configurations, resulting in four individual models. The ML-100 uses a CoaXpress terminal that produces 12-bit Raw video with a ‘region of interest’ feature that can bump up the frame rate to 164 frames per second at 720p. The ML-105 uses a 3G/HD-SDI video terminal and is capable of TCC 4:2:2 10-bit output powered by Canon’s Digic DV4 image processor. The two versions can be ordered with either an EF or M58 mount.
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Although Canon doesn’t specifically mention it, these cameras appear to be, at least in spirit, the successors to its industrial-use ME20F-SH camera, which currently retails for around $ 20K.
The M58 mount version of the ML-100 multi-purpose camera is set to be released at the end of December 2020, while the three other models are scheduled for an April 2021 release date. No pricing information has been shared at this time.
Articles: Digital Photography Review (dpreview.com)
What you need to know about Canon’s new RF 70-200mm F4 and 50mm F1.8
04
Nov
Introducing the Canon RF 70-200mm F4 L IS USM and RF 50mm F1.8 STM
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Canon’s full-frame mirrorless RF system keeps on growing, and today sees the addition of two much-requested new lenses. The RF 70-200mm F4 L IS USM is a compact, more affordable alternative to the previously-announced RF 70-200mm F2.8, and the RF 50mm F1.8 STM is a low-cost standard prime for photographers that don’t need F1.2 (i.e. most photographers).
Click through this article for a walkthrough of their key features (hands-on images courtesy of Canon).
Canon RF 70-200mm F4 L IS USM
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Let’s look first at the RF 70-200mm F4 L IS USM. Spiritual successor to the popular EF 70-200mm F4 family of tele-zooms, one of the main selling points of this new RF zoom is its size (it’s both smaller, 32% shorter than the EF equivalent, and 11% lighter). In fact, at its 70mm position, the new RF 70-200mm F4 is only slightly bigger than the RF 24-105mm. The zoom can be locked at 70mm for storage.
Despite its medium/long-tele reach, minimum focus is a respectable ~0.6m (2 ft) at all focal lengths.
Canon RF 70-200mm F4 L IS USM
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Like its big brother the RF 70-200mm F2.8, however, the lens gets considerably bigger when zoomed-in towards 200mm. Despite the extending design, the RF 70-200mm features ‘L-series dust and weather-resistant build,’ which includes a fluorine coating on the front element to repel water and dirt.
Optical construction consists of 16 elements in 11 groups, including four UD (ultra low dispersion) elements that mitigate chromatic aberration. The new lens also features Canon’s Air Sphere Coating, to reduce flare and ghosting.
Canon RF 70-200mm F4 L IS USM
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On the barrel of the RF 70-200mm F4 you’ll find the usual array of switches, for focus (and focus limiting) and image stabilization. The RF 70-200mm F4 offers three I.S. modes: 1, for general use, which stabilizes in all directions, 2, which is intended to offer best performance for panning shots, and 3, where stabilization only activates once you fully depress the shutter button.
The RF 70-200mm F4’s rated I.S. performance is impressive: 5EV from the lens alone and up to 7.5EV when used in conjunction with the in-body image stabilization system in the EOS R5 and R6.
Canon RF 70-200mm F4 L IS USM
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You might need that stabilization because unlike the RF 70-200mm F2.8 (and previous EF designs) there’s no provision for a tripod foot. Potentially also frustrating for some photographers is that just like its ‘big brother’ the RF 70-200mm F2.8, this new lens is not compatible with Canon’s RF 1.4X and 2X extenders.
Focus elements are driven by a pair of Nano USM motors. Based on our previous experience with Canon’s Nano USM technology, we expect autofocus performance will be very fast, and silent as well.
The Canon RF 70-200mm F4 L IS USM will be available in early December for $ 1,599.
RF 50mm F1.8 STM
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Next up is the RF 50mm F1.8 STM, a low-cost prime lens for RF shooters. Essentially a native RF equivalent to the older EF 50mm F1.8 STM, the new lens is tiny (weighing only 160g / 5.6oz) and at $ 199, considerably more budget-friendly than the RF 50mm F1.2L.
RF 50mm F1.8 STM
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Optical construction is all-new, consisting of six elements in five groups, with one aspherical element. Minimum focus of ~0.3m (1ft) works out to a maximum magnification ratio of 0.25X.
The ring you can see in this picture (and the previous one) is a customizable control ring, which can be set for direct control over manual focus, or in it’s ‘control’ position to provide access to other settings like aperture control or exposure compensation, via the menu system of RF cameras.
RF 50mm F1.8 STM
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Seven rounded blades deliver a near-circular diaphragm at wide aperture settings, and the new lens features a front filter diameter of 43mm. Canon’s SSC (Super Spectra Coating) should help reduce flare and ghosting. The RF 50mm F1.8 STM will be available next month.
Articles: Digital Photography Review (dpreview.com)
Canon’s ISO 4 million multi-purpose camera was used to record fluorescent life in the Amazon
24
Oct
 |
Award-winning artist and director Lynette Wallworth released her documentary Awavena in 2018 to critical acclaim. The project’s director of photography, Greg Downing, utilized numerous cameras during production, including the specialized Canon ME20F-SH multi-purpose camera.
Awavena follows the first female shaman of the Yawanawa tribe in the Amazonian rainforest. As part of the film, the crew documents an Ayahuasca vision quest and represents this experience using real footage captured in incredibly low light and CGI. Downing, with the aid of the ME20F-SH, captured footage of fluorescent insects and plants in nearly no light, something that Canon believes could have proven impossible for other cameras.
This week, Canon shared a video going behind the scenes with Downing and the ME20F-Sh camera. You can view this below.
If you’d like to view the trailer for Awavena, it can be seen below. Awavena is Wallworth’s second mixed-reality VR film, following up on the Emmy-winning film, Collisions. Wallworth says, ‘We engaged DP Greg Downing from XRez to film in the Amazon and brought the eminent Australian fluorescent biologist Dr. Anya Salih, my longtime collaborator, along on the shoot so we could film the previously unseen world of forest fluorescence as part of the vision sequence.’ Wallworth’s full artist statement about Awavena can be read here.
While the Canon ME20F-SH camera is getting a bit long in the tooth, its technical specifications and features continue to impress over five years since it was announced. The camera utilizes a 2.26MP CMOS image sensor, which was originally announced all the way back in 2013. The sensor has pixels measuring 19?m, allowing for 1080/60p video capture in light levels as low as 0.0005 lux at a gain setting of 75 Db, which is equivalent to over ISO 4,000,000. The ME20F-SH supports Canon’s EF and EF-S lenses. While Awavena represented Downing’s first experience with the ME20F-SH camera, he has long relied upon Canon cameras for his work and has been a longtime Canon Professional Services member.
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| Canon ME20F-SH camera |
This is not the first time footage from the ME20F-SH has been featured on our site. In 2016, Ben Canales recorded video of the Perseid meteor shower using the camera. You can see that footage below.
In 2017, Canon outfitted an industrial done with the ME20F-SH all-purpose camera for nighttime surveillance. That video can be seen here.
As PetaPixel notes in its coverage of Awavena, the ME20F-SH has been used to record the aurora borealis in real-time and record bioluminescent coral over 1,000 feet beneath the ocean’s surface. You can check out these videos below:
Articles: Digital Photography Review (dpreview.com)
The inspiration behind Canon’s RF 600mm F11 and 800mm F11 super-tele lenses
06
Oct
 |
In July, Canon announced a pair of super-telephoto fixed-aperture lenses for its RF lens mount. The new RF 600mm F11 IS STM and RF 800mm F11 IS STM lenses are distinct among Canon’s modern offerings but are reminiscent in design and philosophy to some of Canon’s R lenses from 1960.
Six decades ago, Canon released the R300mm F4, R400mm F5.6, R600mm F5.6, R800mm F8 and R1000mm F11 super-telephoto lenses. While not fixed aperture lenses like the new RF lenses, the vintage bellows-driven lenses were nonetheless the inspiration for this year’s modern interpretations. In a Japanese-language interview published by DC Watch, Canon’s Chief of Lens Product Planning, Kengo Iezuka, notes that the EOS R system allows him and his team to create new user experiences for modern photographers. This includes breaking down ‘the three barriers of super-telephoto lenses,’ which he states are weight, size and cost. In 1960, Canon worked to overcome these challenges with its R lenses, and Iezuka believes Canon’s RF 600mm F11 and RF 800mm F11 lenses do the same in 2020.
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| Canon R600mm f/5.6 lens. The lens was first marketed in January 1960. Image credit: Canon, Canon Camera Museum |
When Iezuka was a child and wanted to capture wildlife images of a Little Egret, he was unable to due to the expense of super-telephoto lenses. Iezuka says via translation, ‘I knew that there were many people who gave up what they wanted to shoot and the expressions they wanted to shoot because they couldn’t buy a super-telephoto lens and couldn’t carry it because it was big and heavy. With the EOS R system, I think I was finally able to get closer to the dream super-telephoto world. I would like you to enjoy shooting things that you couldn’t shoot before and the expressions you wanted to shoot with this 600mm/800mm F11 lens.’
In elaborating further upon how the Canon EOS R system allows the three barriers of super-telephoto lenses, Iezuka states that Canon’s Dual-Pixel CMOS AF allows for strong autofocus performance even in low light, or when using a lens with a smaller maximum aperture, such as F11. In 1960, the sensitivity of film was stricter, requiring faster apertures in the case of the R400mm F4.5, R600mm F5.6 and R800mm F8. However, today, Canon’s EOS R system allows for much more flexibility when designing new lenses. In fact, the EOS R can even work with F22, allowing Iezuka and his team to utilize an F11 design that can incorporate a 2x teleconverter.
If Canon had pursued an F8 aperture, the lens would have been larger and heavier. An F16 lens would have worked without a teleconverter, but not with a 2x TC attached. It was around this point in the design process when the team first considered making the lens with a fixed aperture. Ultimately, removing the aperture unit allowed for reduction in weight and cost, both critical design goals for Iezuka and the team at Canon.
Iezuka also shared that the RF 600mm and 800mm lenses were not his first attempt to create a lightweight and cost-effective super-telephoto lens. He had previously explored the idea for SLR cameras. ‘I wondered if I could manage to get closer to the world of super-telephoto lenses that exceed 400mm,’ Iezuka said, ‘I considered increasing the F-number as I did this time, but it didn’t work. If you increase the F value, you can only autofocus at the center of the [frame]…so I gave up.’ The new RF lenses offer autofocus coverage of 60% x 40% (W x H) with the recent Canon EOS R5 and R6 full-frame mirrorless cameras.
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Iezuka also considered zoom lenses, but this design would increase the weight too much to be able to carry the lens around all day. The RF 600mm lens weighs approximately 2.05lb and the RF 800mm weighs about 2.78lb. In order to maintain a lightweight design and ensure the lenses are affordable, metal parts are kept to a minimum and much of the lens is constructed using resin. In order to utilize a collapsible design, many parts had to be molded, which is unique for Canon’s lenses. The collapsible design came from one of the youngest members of the team, Iezuka says, and was the result of internal competition within the department.
There is much more excellent insight into the design process in the full interview, so be sure to check that out. Click the following links for more information on the Canon RF 600mm F11 IS STM and RF 800mm F11 IS STM lenses.
(Via PetaPixel)
Articles: Digital Photography Review (dpreview.com)
Canon’s EOS Webcam Utility out of beta on Windows, now supports more programs, cameras
18
Sep
Canon has announced its EOS Webcam Utility is now out of beta for Windows, bringing improved support and additional compatibility with more Canon cameras.
Originally released in beta for Windows, Canon’s EOS Webcam Utility is now an official release. In addition to supporting more livestreaming, messaging and video conferencing programs, the official release also adds support for more cameras, ensuring more than 40 Canon camera models can be used as webcams over USB and Wi-Fi (with compatible cameras).
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Below is a list of the programs that will now work with EOS Webcam Utility for Windows:
- Cisco Webex®
- Messenger
- Streamlabs
- Discord
- Microsoft Teams
- YouTube Live
- LIVE Facebook Live
- Open Broadcaster Software
- ZOOM
- Hangouts
- Skype
- Hangouts Meet
- Slack
As for cameras, below is a list of the models that are currently supported by the official release:
EOS Digital Cameras
- EOS-1D C*
- EOS-1D X*
- EOS-1D X Mark II
- EOS-1D X Mark IlI
- EOS 5D Mark III*
- EOS 5D Mark IV
- EOS 5DS
- EOS 5DS R
- EOS 6D *
- EOS 6D Mark I **
- EOS 60D *
- EOS 7D *
- EOS 7D Mark I1
- EOS 70D *
- EOS 77D**
- EOS 80D **
- EOS 90D **
- EOS M200 ***
- EOS M50 **
- EOS M6 Mark II **
- EOS R
- EOS R5*
- EOS R6 ***
- EOS Ra*
- EOS Rebel SL1*
- EOS Rebel SL2 **
- EOS Rebel SL3 **
- EOS Rebel T3*
- EOS Rebel T3i*
- EOS Rebel T5*
- EOS Rebel T5i*
- EOS Rebel T6
- EOS Rebel T6i
- EOS Rebel T6s *
- EOS Rebel T7 **
- EOS Rebel T7i **
- EOS Rebel T8i***
- EOS Rebel T100 **
- EOS RP **
PowerShot Cameras:
- PowerShot G5X Mark II **
- PowerShot G7X Mark Ill **
- PowerShot SX70 HS
* Recently added camera
** USB not included with camera
You can find installation instructions and a link to download the EOS Webcam Utility Official Release for Windows on Canon’s website.
Articles: Digital Photography Review (dpreview.com)
Breakthrough Photography announces more than 20 drop-in filters for Canon’s EF-RF adapter
11
Aug
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San Francisco-based Breakthrough Photography has announced the first third-party drop-in filters for Canon’s EF-RF drop-in filter mount. This filter mount allows users to adapt EF or EF-S lenses to EOS R series mirrorless cameras with a dedicated space for A-type drop-in filters.
Since the EF-EOS R drop-in filter mount adapter first launched, users have been limited to Canon’s own circular polarizing (CPL) filter or variable neutral density (ND) filter. With Breakthrough Photography’s new line of compatible drop-in filters, users will have access to more than 20 different X2 and X4 filters.
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| Breakthrough Photography’s new drop-in filter line. Image credit: Breakthrough Photography |
The design of Breakthrough Photography’s new drop-in filters includes a rubberized grip to make it easier to put the filter in and remove it from the adapter. For filters with adjustment, there is a large ridged adjustment wheel. Each drop-in filter is also color-coded to make filters identifiable with a quick glance, which will be particularly useful for photographers who purchase one of Breakthrough’s available filter kits, such as the Essential X2, Essential X4 or Complete B&W filter kits.
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| The Breakthrough drop-in filters include a large adjustment wheel and a rubberized grip. The filters are also clearly labeled and color-coded. Image credit: Breakthrough Photography |
Before delving into specific available filters, let’s consider the difference between Breakthrough’s X2 and X4 filters. Looking at the X2 CPL versus the X4 CPL, the latter filter has an average light transmission of 50.64% whereas the former has an average light transmission of 42.44%. According to Breakthrough Photography, the X4 CPL ‘moderately outperforms’ the Canon drop-in CPL filter, whereas the X2 CPL has ‘slightly less’ light transmission than the Canon filter. In terms of color cast, the X4 CPL ‘moderately outperforms’ the Canon filter.
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| Breakthrough states that their X4 CPL filter has the best light transmission among its competitors. We can also see here that the Canon drop-in CPL filter performs well, as does Breakthrough’s more affordable X2 CPL filter. Image credit: Breakthrough Photography |
The X2 ND filters and X4 ND filters don’t have a direct Canon competitor because Canon offers a variable ND filter rather than a series of solid drop-in ND filters. With that said, Breakthrough Photography claims that the X4 ND outperforms ‘industry-leading manufacturers such as Singh-Ray and B+W and Lee’ due in part to neutral color transmission.
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| Image credit: Breakthrough Photography |
Canon’s EF-EOS R drop-in filter mount includes a 1.5-9 stop variable ND filter. In addition to solid ND filters in 3, 6, 10, 15 and 20 stop strengths, Breakthrough’s new drop-in filter line includes a pair of variable ND filters. The first, VND-R, is adjustable from 2 to 11 stops. There is also a stronger Dark VND-R, allowing adjustment from 10 to 16 stops of ND strength. Breakthrough states that the VND-R and Dark VND-R drop-in filters eliminate the ‘X’ pattern sometimes seen on VND filters with wide-angle lenses. The Canon drop-in VND is an excellent filter but Breakthrough states that their filters outperform it. You can view a transmission percentage comparison below.
There are four CPL filters in the line aimed at black and white photography: Red, orange, yellow and green. They are available in a bundled set.
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| Comparing Breakthrough’s available black and white CPL filters. Image credit: Breakthrough Photography |
Rounding out the series of drop-in filters are Night Sky, infrared 720nm and a pair of clear filters. Digital cameras, such as the EOS R, RP, R5 and R6, include a permanent IR-cut filter over the image sensor. With the IR filter, some residual light can reach the sensor and show the scene in a way different from how it appears in the visible light spectrum. The Night Sky filter is designed to reduce light pollution and show night scenes with color neutrality.
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| Breakthrough’s Night Sky filter aims to reduce the impact of light pollution on colors in night sky images. The image on the left was captured without the Night Sky filter, whereas the image on the right was shot using the Night Sky filter. Image credit: Breakthrough Photography |
Breakthrough Photography expects the filters to begin shipping in late September. Prospective customers can preorder individual filters and filter kits now through Breakthrough Photography’s website. Prices range from $ 80 to $ 200 for individual filters. There are also savings available if customers opt for a filter kit rather than purchasing a set of individual filters. It’s worth noting that all Breakthrough Photography filters include a free 25-year ‘Ironclad Guarantee’. If you’d like to learn more about long exposure photography while you wait for your new filters to arrive, Breakthrough Photography offers a free 52-page long exposure photography guide, which you can learn more about here.
Articles: Digital Photography Review (dpreview.com)
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