The post News: Demand for DSLRs is Still Strong, According to Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
If you were hoping for a flagship, pro-sports mirrorless camera from Canon, you may be waiting for longer than expected.
Earlier this month, DPReview sat down for an interview with two key Canon representatives and came away with some key information regarding Canon’s transition from DSLR to mirrorless.
The number one takeaway:
The demand for DSLRs is still strong. They are performing well, so Canon is continuing to work hard on its DSLR lineup. And a professional-grade mirrorless camera may not be ready anytime soon.
In other words, Canon won’t be making a full-throttle transition to mirrorless at present.
Of course, a rapid transition to Canon’s mirrorless systems was never a guarantee. But reports of the declining DSLR market, combined with Canon’s teasing of a professional-grade mirrorless camera, had led many to believe that a significant shift to mirrorless was on the way. Instead, it seems like Canon may continue to strike a balance between their DSLRs and mirrorless cameras.
What triggered this hesitation regarding mirrorless systems?
As explained by the Canon representatives:
“[A]s of now, we…see a lot of demand from photographers asking for DSLRs, specifically [because of] the benefits of an OVF.”
The reps go on to explain that “there are huge benefits to mirrorless, and we implemented, or combined as much of that [technology] as we could into the [EOS-1D X Mark III].”
For Canon fans still waiting for their dream mirrorless camera, this may not be an adequate consolation. But even as Canon staves off a true move to mirrorless, you can expect plenty of mirrorless features to be integrated into new Canon DSLRs.
It’s certainly interesting to hear that professional Canon photographers have been asking for an optical viewfinder over an EVF. One thing to keep in mind is that Canon is mostly listening to sports and action photographers, who prioritize viewfinder tracking over other features (such as WYSIWYG depth of field). Yet the Canon representatives note that there’s a generational split here, explaining:
At this point in time the biggest difference [between DSLRs and mirrorless cameras] is the finder. The fact that you can see everything in real time, without any layers in the way. That’s really big for a lot professional sports photographers. On the other hand, we do see a lot of the younger generation of professionals favoring EVFs, because what you see is what you get.
What do you think about this generational split in terms of OVFs and EVFs? If you’re a sports photographer, which do you prefer?
And how do you feel about Canon’s choice to maintain a focus on DSLRs (for now)?
Share your thoughts in the comments!
The post News: Demand for DSLRs is Still Strong, According to Canon appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Lessons from the Masters: Sally Mann appeared first on Digital Photography School. It was authored by Adam Welch.
Photography can be mischaracterized as a “safe” medium. More often than not, photographs are geared towards improving the way we view the world and ourselves. Generally speaking, photography appeals to the lighter side of our senses. Whether it’s the calm aesthetics of a serene landscape or a hauntingly sublime portrait of an elegant model, when we think of photography, we immediately think about all the ways it can make the world seem more beautiful and more safe.
But the world isn’t always beautiful. The world isn’t always the safe and secure menagerie of perfection we often see displayed in the photographs on social media and other corners of the internet. For all its effectual nature, photography, which displays only the conventionally pristine faces of our world, is at best, a blissful half-truth and at worse, blatant hypocrisy. We are surrounded by uncomfortable realities that are easier ignored than embraced or even acknowledged.
This leads me to the work and life of a photographer who is surrounded by as much controversy as she is by her works enigmatic magnetism. In this edition of “Lessons from the Masters,” we take a close look at the photography of Sally Mann. We see why and how she has become such an oddly iconic herald of the merits of unconventional photographic content.
Mann’s photographs epitomize the harsh internal conflicts we all face in our work and our lives as we walk the fine line between tactful self-expression and creative freedom. We’re going to find out what lessons we can learn and apply (or avoid) to grow as photographers.
Who is Sally Mann?
Photo: Michelle Hood [CC BY-SA 3.0]
In 1951, the girl who becomes Sally Mann was born in the small southern town of Lexington, Virginia where she still lives today.
Her path to photography was first facilitated through her physician father (also an artist) with whom Sally would have an admittedly complex relationship throughout her life. She holds a BA and an MA in creative writing from Hollins University in Virginia. It is remarkable to note that Sally Mann has never formally trained in the craft of photography.
Although she has produced work across all photographic mediums, she gravitates toward photographing things closest to her home in the southern United States. The large body of her photographs centers around the investigation of death, sensuality, history, childhood, and the visceral (often painful) realities of life.
Many of her most known photos are products of antiquated photographic techniques such as wet plate collodion. She captures these using an antique 8×10 view camera with equally-aged lenses. Incidentally, this type of photography plays an enormous role in one of the most important lessons we will learn from Mann.
Sally Mann has published numerous books of her photographs as well as produced multiple major exhibitions and is a Guggenheim fellow. She has been the subject of two documentary films with one nominated for an Academy Award and the other an Emmy.
In 2001, Mann was named “America’s Best Photographer” by Times magazine.
The following two images are from Sally Mann’s A Thousand Crossings exhibition.
A post shared by A Thousand Crossings (@a_thousand_crossings) on
Now, let’s look at some lessons we can learn from Sally Mann.
Photographic opportunities are everywhere
We are fortunate today as photographers in that we can make photographs at literally any time. Through the progression of photographic techniques, our cameras have become smaller, cheaper, and generally more qualitative than ever before.
And yet, we sometimes find ourselves at a loss for what to photograph.
I’ll admit, I’m guilty of this mental photo block myself. Sometimes we can convince ourselves that we need to “go somewhere” to make photos. It’s easy to forget that it’s not necessarily the location or the subject matter that makes for a great photo. Instead, it’s how we inject our own creativity into the making of the photo that truly matters.
In the case of Sally Mann, the majority of her work takes place on and around her property, with concentrations on simple subject matter.
The lesson:
The next time you feel like there’s nothing to photograph, remember to look a little deeper at the things surrounding you at any given moment. Light transforms textures and can produce incredibly dynamic compositions from even the most common subjects.
As a measure of solidarity, I made three photos using my cell phone here in the room where I’m currently writing. They are incredibly basic objects: my hand, a spoon, and a book, with the entire process only consuming about ten minutes. I made all of these using available window light and then quickly processed them in Adobe Lightroom Mobile.
Much like Ed Weston and his simplistic photos of common objects, Sally Mann teaches us that it can pay to look deeper at the things we encounter every day.
Embrace the flaws
Nothing is or ever will be perfect, especially our photographs. Coming to terms with the truth that perfection is unattainable is a constant difficulty that we all must face as photographers. Sally Mann takes this one step further by actively welcoming flaws and imperfections into her work.
Many of Mann’s most iconic works carry a measure of impurity, which somehow lends itself to completing the total impact of the photo.
From one of my own photo projects. A sheet of 4×5 film shot in the Mojave desert and developed from the back of my car. Complete with dirt, scratches and water spots.
Sally Mann refers to this mercurial facet of her work as the “angel of uncertainty” in reference to the somewhat unpredictable nature of the photographic processes she employs. It’s this complete surrender to the happenstances of the work that gives Sally Mann’s photos their unique qualities.
The lesson:
Try to strike a balance between proficiency and cautioned spontaneity when you make your photographs. Keep in mind that a “perfect” photo doesn’t exist and try not to become so preoccupied with your technique that the creative nature of your work suffers.
Allow yourself to be yourself, and that will shine through in your photos. Welcome all the little intricacies and glitches, which come along with making photographs, and you will likely find more enjoyment from the images you make.
Recognize the power of photography
As much as Sally Mann’s work is revered by some it is reviled by others. Her expressions of death, decay and especially her highly controversial images of her children have made here somewhat of a polarized figure. It speaks to the incredible power held within photographs which can move people in a multitude of directions.
Photo by Adam Welch
The lesson:
Photography is not just a two-dimensional art form. The power of photography can transcend the medium itself with many legendary photos serving as a model for social and environmental change.
To that end, we must always remember that our work can affect our viewers on levels we might not fully comprehend.
It’s true that we can impact the lives of those who see our photos in a positive way. Yet, it is also true that our photos can have the opposite effect and can potentially cause pain. In the case of Sally Mann, the public reception may include entirely different attitudes than was originally intended.
In closing…
No matter if you’re a professional or hobbyist, being a photographer today means constant reminders that our photographs could always be better. If we only had this or that piece of gear, or maybe if we travel to this place or that, our images will somehow finally reach that magical Nirvana we always hoped they could achieve.
And then we have Sally Mann – a photographer that has managed to become arguably one of the most influential photo makers of the last fifty years.
She seems to defy the conventions of today’s photographic climate by shooting close to and in her home using tools and techniques that are more than a century old.
Her work is famous – and at times, infamous.
In fact, many of her more notable works can’t even be shown within this article. Yet, the work of Sally Mann reminds us all that we are making photographs with similar intentions; to express ourselves using whatever means satisfy us most.
Perhaps the greatest lesson we can learn from Sally Mann is that we all share a common complexity best translated through photographs in the absence of words. That somehow we find perfection through imperfection, and that we are all mortal.
You may also like:
Lessons you can learn from master photographers – Minor White, Ansel Adams, and Syl Arena
More Lessons from the Photography Masters: David Burnett and Vivian Maier
Lessons from the Masters: Robert Capa and Jerry Uelsmann
Lessons from the Masters: Morley Baer
Lessons from the Masters: Imogen Cunningham
The post Lessons from the Masters: Sally Mann appeared first on Digital Photography School. It was authored by Adam Welch.
The Sony a7R IV is a 60MP full-frame mirrorless interchangeable lens camera, which offers a suite of powerful stills and video features.
We follow photographer Micael Bonocore as he tells the story of Igram Askar, a young eagle huntress in Mongolia. Everything in this video was filmed and photographed using the Sony A7R IV.
A viral video shared by photographer Greg Riegler over this past weekend highlights the problem of carriers mishandling packages — in this case, a package containing a $ 1,500 Canon lens. The video was captured by a video doorbell security camera and recently detailed by Riegler on Reddit.
The video shows an individual claimed to be a delivery driver in training carrying the box across the lawn, only to throw it across what appears to be 10-15ft onto the porch and into the door. The entire process was pointless, as the video shows the trainee walking back to the unmarked van, only to return with a second individual wearing the FedEx logo. A slip was ultimately left at the door and the package was returned to the truck.
In a comment on Reddit, Reigler said:
This happened yesterday, I’ve been in contact with FedEx and the local distribution center. It’s a contractor, and the guy tossing the box seems to be training, which is crazy he already doesn’t care about his job … I know packages are supposed to be packed in a way they can handle drops and what not, but they shouldn’t be intentionally mishandled.
Riegler reports that an actual FedEx employee, not a contractor, delivered the package the next day and that the lens appeared to be unharmed upon inspection.
Skylum software’s Luminar 4 image editing application is now shipping. The company had been giving us a few glimpses at the software’s new AI-powered editing tools over the past few months, including the AI Skin Enhancer and Portrait Enhancer filters, the AI Sky Replacement filter and the AI Structure filter which selectively enhances textures and detail in images. Now the package is finally available to users.
In addition to the new tools there’s also a revamped user interface that, according to Skylum, will shorten the learning process for new users and, thanks to customizable tools, should provide ease of use for beginners and veteran users of Luminar alike.
Luminar 4 is available is a standalone application but can also be used as a plugin for Adobe Photoshop, Lightroom Classic and Photoshop Elements, as well as Apple Photos for macOS and Aperture.
The full version will set you back $ 89, an update from a previous Luminar version will cost you $ 74. Mixed-computer households can share the same product key for Mac and PC which can be activated on 2 devices. More information is available on the Skylum website.
SLR Magic has launched four EF-mount lenses as part of its APO-MicroPrime line:
APO-MicroPrime CINE 25mm T2.1
APO-MicroPrime CINE 32mm T2.1
APO-MicroPrime CINE 50mm T2.1
APO-MicroPrime CINE 85mm T2.1
The APO-MicroPrime lenses feature optical elements paired with a ‘unique optical design’ to correct longitudinal chromatic aberrations, according to SLR Magic. As a result, the company says bright and dark transitions in images are rendered without colorful artifacts, particularly when it comes to highlights.
Each lens has a 150-degree focus throw, T22 – T2.1 aperture and an 82mm intenal filter size alongside an 85mm outer front. As well, all four new CINE lenses weigh around 900g (1.9lbs) and feature nearly identical designs. All four lenses will retail for $ 1,499 USD with planned availability starting in December 2019.
The post Creative Photography Exercises: Setting Limitations to Achieve Better Photography appeared first on Digital Photography School. It was authored by Ana Mireles.
Every photographer can feel stuck at some point. I find this often happens when you have learned all the technical basics, and it’s time for you to start finding your way. Is this you? Here are some creative photography exercises than can help you shake things up. Keep on reading to see how setting limitations can help you to achieve better photography.
Have you ever been to a restaurant that has a huge menu but you can’t decide what to order? The same thing can happen with your photography. Having the ability to photograph anything can seem daunting. That’s why setting limits before you start shooting can help you focus.
You can set a limit regarding the idea or project you want. In this photo, I decided to limit my idea to fruits as a topic. You can also limit the tools and techniques that you can use – for example, using long exposure times. Here are some creative photography exercises to get you started.
Technical Limitations
Use only one focal length
As you probably know, there are zoom lenses and prime lenses. A zoom lens means that you can change your angle of view in seconds, which gives you great versatility. A prime lens has a fixed focal length, and this will force you to move around and re-compose your images.
If you don’t have a prime lens, use your zoom but choose a focal length and stick with it for the entire exercise. Here I used an 18-55mm and put some tape as a reference on 40mm. This doesn’t mean that you can’t use both lenses, it’s just a way for you to practice without buying new gear.
Think in terms of film photography
Pretend you’re using a film camera and set yourself a limit of 12, 24 or 36 images that you can use. I suggest these numbers because film rolls were sold like that, but feel free to set a different limit without overdoing it. This will push you to put more thought into the final image before you press the shutter button.
If you want to make it more challenging, try only using the viewfinder and not reviewing your images after shooting. Not having the chance to delete images in order to stay within the maximum amount gives you that extra push.
Project Limitations
Ride the bus
This is a fun project because you can approach it in many different ways. For example, you can choose to photograph the street while riding the bus or the metro. This takes away much of your control over the scene in front of you. You also have to deal with motion and reflections. And most of all, you have to react quick before you’re gone.
You can also choose to photograph the inside of the vehicle. This is very close quarters so it will help you to overcome shyness. It is also challenging to compose and focus on short distances. So you may want to explore a wide-angle lens if you want to capture the full scene. The light probably won’t be very bright so you may need to bump up your ISO. Combined with the fact that you’re moving, you may find it challenging, but give it a try!
Always shoot at the same time
Program an alarm on your phone to remind you to take a picture exactly at the same time every day. If you have a routinary life, it will challenge you to shoot the same thing or place differently. If you have a flexible schedule, and the time, you will find yourself in different places, where you’ll have to deal with a variety of challenges each time.
Either way, it will kick start your creativity. This image, for example, is only the heater from my studio. Try looking for different angles, play with lighting, etc.
Conclusion
These are just some ideas for creative photography exercises. Feel free to create your own according to your interest, gear and even the place you live. You just need to follow the same rule of establishing some guidelines as limitations to strengthen your abilities and creativity. I’ll leave you here some other articles that can give you more ideas:
Expand Your Creativity by Taking Self-Portraits.
An Apple a Day Keeps Creativity Awake.
How to Boost Your Creativity by Including Props in Your Photography.
How to Reboot Your Creativity with 15-Minute Exercises.
Feel free to share any other creative photography exercises in the comments. And, as always, we love to see your images, so try some of these techniques, and share your images below.
The post Creative Photography Exercises: Setting Limitations to Achieve Better Photography appeared first on Digital Photography School. It was authored by Ana Mireles.
Sony has issued a service advisory for a select number of 16-35mm F2.8 G Master lenses after it was revealed some units are causing Sony full-frame cameras to stop working when the lens is attached.
According to the advisory, select Sony FE 16-35mm F2.8 GM lenses cause the camera to stop working when attached and prevent the camera’s screen from turning on. The advisory notes lenses between serial numbers 1800502 and 1823192 are those in the danger zone, so to speak.
If your lens’ serial number is within that range, Sony has a tool on the service advisory page (translated) that will let you enter the serial number to see if your specific lens is affected by this recall. In the event it is, Sony says it will inspect and repair it free of charge through March 31, 2023.
The form on Sony’s service advisory page that allows you to input your serial number to confirm whether or not your lens is affected.
We have contacted Sony to clarify what regions this service advisory is limited to as well as additional information about the returns process for affected lenses.
Update (November 18, 2019): Updated the introduction paragraph to clarify what issues the affected lenses cause and updated both the headline and article to note the service advisory isn’t limited to the Japan region.
The post News: Could This Sea-Thru Algorithm Be the Future of Underwater Photography? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Photo by James Thornton via Unsplash.
Underwater photographers may soon have a way of “removing water” from their photos, based on research done by Derya Akkaynak and Tali Treibitz at the University of Haifa (read report here).
As explained by Akkaynak and Treibitz, “An underwater photo is the equivalent of one taken in air, but covered in thick, colored fog.” And while the precise effects of water on images is somewhat technical, it doesn’t take much to recognize that water degrades images, causing a loss of both clarity and accurate color.
Enter Akkaynak’s Sea-thru algorithm, which is designed to remove color casts and other optical problems created by water. In other words, it can be applied to an underwater photo, one that’s blue (with inaccurate colors), and turn it into something that looks like it was taken on land.
For examples, check out the images in the Scientific American video:
??
How it works
But how was the algorithm actually developed, and how does it work?
Basically, Akkaynak took a series of underwater photos, making sure to place her color chart into the scene for an accurate reference. She ultimately compiled over a thousand images in several environments. From the reference images, Akkaynak and Treibitz developed a model that takes into account the unique ways that light interacts with water in order to correct underwater images for color and light.
Now, Akkaynak and Treibitz had academic purposes in mind when they conducted this research. The algorithm, as presented in the original research paper, is meant to “help boost underwater research at a time when our oceans are increasing stress from pollution, overfishing, and climate change,” by giving researchers better access to visual data from underwater cameras.
But it’s easy to see how the Sea-thru algorithm could be relevant to underwater photographers everywhere. If Sea-thru can make photos become more accurate and (often) more vivid and colorful, might underwater photographers like to use it on their own images?
On the other hand, there’s the question of whether the best underwater photos convey an authentic sense of the (underwater) environment. Without the blue tones of water and the haze that water provides, photos may lose the sense of wonder that comes from doing work under the sea.
So let me ask you: Do you prefer underwater images where the water is much less apparent? Or do you like more authentic underwater photos, color cast and all? Would you be interested in the Sea-thru software?
Share your thoughts in the comments!
The post News: Could This Sea-Thru Algorithm Be the Future of Underwater Photography? appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
The post Create Awesome Reflections in Photoshop with Ease (Step-by-Step Guide) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
Attractive reflections can be challenging to capture naturally in your photographs. Sometimes it’s easier to create reflections in Photoshop. You will have more control over how the photo looks and you can avoid the difficulties that photographing reflections can bring.
Often you can’t find just the right place to stand to catch the best reflection. Sometimes the light is wrong and a natural reflection will look too dark. Choosing to make reflections in Photoshop gives you much more flexibility to get the look you want.
It’s really not that difficult to do. In this article, I’ll walk you through a series of steps you can use to make a mirror image in Photoshop.
When making reflections in Photoshop, it’s important to start out by choosing a photo that’s suitable. Not every photo will look good or natural when you make a mirror image of it.
When you’re looking for a photo to use with this technique, think about how it will look. You ideally want to use a photo where the main subject has a distinct line along where the reflection will appear.
Open your photo in Photoshop. You may need to crop the bottom of the photo to create a clean line where the reflection can be placed.
Step 2: Adjust the canvas size
You need to adjust the canvas size to make room for the reflection you will create.
Go to the top menu and select Image->Canvas Size. In the pop-up that appears in the box next to the Height option, click the drop-down and choose Percent. Make the Height percentage 200.
Click the top center of the Anchor options grid. This will force the new canvas space you are creating to appear underneath your photo.
Click OK.
Step 3: Duplicate the layer
In the Layers panel, unlock the base layer. To do this, click on the padlock icon. Now you can duplicate this layer by going to the top menu and selecting Layer->New->Layer Via Copy.
Convert both the layers to Smart Objects by right-clicking on each of them and selecting Convert To Smart Object. Now rename both layers to make it easier to keep track of which one is which.
Step 4: Position the new layer
Drag the new layer to the space you created under your main image.
Now you need to flip the lower layer. This will be your reflection. From the top menu select Edit->Transform->Flip Vertical and press Enter.
Step 5: Add blur to the reflection layer
With your reflection layer selected, from the top menu select Filter->Blur->Motion Blur. Set the Angle to 90-degrees and use the Distance slider to add a suitable amount of blur. How much you add is up to you and will vary depending on the resolution of the photo you are working with. In my example, I have set it to 30.
You may need to reposition your reflection layer by nudging it up slightly if a gap has appeared between your two layers.
Step 6: Make a new file
Duplicate your file by going to the top menu and selecting Image->Duplicate. Crop the image so you are left only with the reflection.
Delete one layer so you are left with a blank canvas. Resize the canvas to 30%, otherwise, it will be too big to manage easily. Select the paint bucket and fill the image with black.
This file you have created will be added to the reflection layer to make it look more realistic like water.
Step 7: Add blur and noise for texture
From the top menu select Filter->Noise->Add Noise. Make the amount 350% and check the boxes Uniform and Monochromatic. Click OK.
Now add some blur. Select Filter->Blur->Gaussian Blur from the top menu and set the Radius to 1.5 pixels and click OK.
Step 8: Emboss your texture
In the Channels panel click on the Red channel.
Next, go to the top menu again and select Filter->Stylize->Emboss. Set the Angle to 90, the Height to 5, and the Amount to 500. Of course, you can experiment with any of these amounts. Click OK.
Now select the Green channel and Filter->Stylize->Emboss from the top menu. Set the Angle to 0, the Height to 5, and the Amount to 500. Click OK.
Turn on all the channels by clicking RGB. Go back to your Layers Panel, right-click the layer and Convert To Smart Object.
Step 9: Stretch the perspective of the distortion
Select Edit->Free Transform from the top menu. Right-click inside the image and select Perspective. Make sure you are zoomed out a long way so your image is small in the center of your monitor.
Click on one of the bottom corners of the frame and drag it out horizontally. This will stretch and distort the lower part of the texture. Don’t worry if it looks weird, once you incorporate it into your reflection it will make it look more natural.
Zoom back to 100%. Save this image as a .PSD where you can find it easily and name it something recognizable.
Step 10: Make an adjustment layer on your main image
Click on the reflection layer on your main image and duplicate it by pressing Ctrl (Cmd)+j on your keyboard. Name it “Reflection Copy.” With the new layer selected (which should be above the other reflection layer), from the top menu, choose Filter->Distort->Displace. Set the vertical and horizontal scales to about 10.
You may need to alter these if it does not look good, depending on your image size and resolution. Click OK.
From the window that opens, find and select the distortion image you just created and saved. This will use the texture image as a displacement layer. If the ripple effect is too large or too small, undo that step. Redo the step again, but this time choose a higher or lower number for the displacement scale.
Experiment with this until you are satisfied with the way it looks. It’s entirely up to your taste.
Step 11: Adjust the reflection
With your Reflection Copy layer selected, click on the layer mask icon, which is at the bottom of the Layers Panel. Select the Brush tool with the color set to Black and a large brush size and Hardness of 0%.
From the options panel above your image, set the brush opacity to 20%. Select your layer mask, not the main reflection layer. Paint from side to side over the top half of your reflection layer, where it meets the top layer until it looks natural.
What you are doing is erasing 20% of the distortion each time you paint. You want to make the reflection look smoother in what appears to be the distance.
Step 12: Merge the reflection layers
Select both the reflection layers in the Layers Panel. Right-click on one of them and select Merge Layers. Make sure your main image is not selected. You should now have one reflection layer and your main layer.
Step 13: Darken the reflection
With the reflection layer selected, go to your top menu and choose Image->Adjustments->Curves. Click in the middle of the curves adjustment line and drag it down to darken the reflection. Adjust it until it looks natural. A reflection in water is typically darker than the scene it’s reflecting.
Conclusion
Follow through these steps a few times and experiment with the variables. There is no right or wrong way to do this. Your personal preference and the photos you choose will determine the outcome.
You will find reflections in Photoshop look better on some images than on others.
Try out this technique for making reflections in Photoshop, and share your images with us in the comments below!
The post Create Awesome Reflections in Photoshop with Ease (Step-by-Step Guide) appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.
If you were hoping for a flagship, pro-sports mirrorless camera from Canon, you may be waiting for longer than expected.
You must be logged in to post a comment.