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Canon confirms the EOS R5 will capture internal 8K/30p video, offer ‘advanced animal AF’

14 Mar

In an uncharacteristic move, Canon Australia has published a press release revealing a number of new details pertaining to the specifications of its upcoming EOS R5 mirrorless camera, in what appears to be an effort to quiet the ongoing speculation regarding what ‘8K’ capabilities the camera will offer. Spoiler alert: Canon’s video-limiting days may be over.

Canon confirms in the press release the EOS R5 will offer 8K internal video recording using the full width of the sensor at up to 30 frames per second (fps). In addition to no crop shooting, Canon notes all 8k modes for the EOS R5 will support Canon’s Dual Pixel CMOS AF technology.

Canon also says the R5 will support ‘advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.’

Historically, Canon has been suspected to limit the video capabilities of its non-cinema camera products in order to minimize cannibalization, a name given to the problem of losing sales within a company’s own product lineup by putting what’s considered premium features and capabilities in lower-cost products.

These new details don’t confirm Canon has taken an entirely altruistic approach to its EOS R camera development, but it does show Canon is getting serious about video in its mirrorless lineup and is determined to make a statement in the market compared to the likes of the Sony’s a7 III and Nikon’s Z7, two full-frame mirrorless cameras that have, until now, been above and beyond what Canon has offered with its EOS R and RP mirrorless cameras.

Sydney, AUSTRALIA, 13th March 2020: Canon INC has today released further development specifications for its recently announced Canon EOS R5, the next-generation full-frame interchangeable lens camera in the company’s EOS R System. These additional details come exactly one month since Canon released the development announcement of the EOS R5 and shut down speculation that some of its revolutionary specifications are ‘a fantasy’.

Signalling a new phase of Canon 5-Series imaging and a revolution in the mirrorless full camera category, Canon’s EOS R5 will offer every photographer – not just professionals – access to high-quality imaging, cutting-edge 8K movie recording, new approaches to in-body image stabilisation, and revolutionary subject detection and tracking performance features.

New possibilities for movie performance
Unleashing new possibilities, Canon Inc. confirms the EOS R5’s video capabilities will exceed that of competing cameras on the market¹. With its ability to internally record 8K using the full width of the sensor at up to 30p, the latest Canon EOS R camera is set to redefine mirrorless with its market-leading features. In addition, in all 8K modes the EOS R5 will support Canon’s renowned Dual Pixel CMOS AF.

A beast for subject detection and tracking performance for animals and people
Canon Inc. also confirms the EOS R5 supports advanced animal AF – recognising dogs, cats and birds, relying not only on the eyes of the animal but also the face and body for situations when the eyes are not visible.

Jason McLean, Director – Consumer Imaging & Services, Canon Australia, said: “Our EOS 5-Series was developed fifteen years ago to make full-frame cameras accessible to consumers, not just professional shooters. Today, that purpose remains steadfast as we continue achieving the ‘impossible’ to deliver the hybrid needs of content creators who are demanding uncompromised performance to generate more still and motion visual content than ever before.”

“With its game changing 8K movie capabilities, new approaches to image stabilisation, revolutionary subject detection, and compatibility with Canon’s full suite of EF² and RF lenses, the EOS R5 represents a category revolution as opposed to product evolution in the interchangeable-lens camera market.”

The EOS R5 specifications previously confirmed by Canon include:
• The EOS R5 offers a step-change in performance with an incredible 12fps using the mechanical shutter and the electronic shutter offering 20fps
• The EOS R5 takes Canon’s cutting-edge image stabilisation technology to the next level, by including a newly Canon-developed, in-camera image stabilisation system – which works in combination with the lens stabilisation system
• With content delivery just as important as image and video capture, the EOS R5 supports automatic transfer of image files from the device to the image.canon cloud platform³
• The highly anticipated EOS R5 will feature dual card slots
• Upon launch, the Canon EOS R5 will also be supported by Canon Australia’s 5-year warranty when purchased from an authorised local dealer⁴.

To stay up to date with the latest news and information regarding the EOS R5, register here: www.canon.com.au/preference-and-settings/in-focus.

¹ As of 13th March 2020
²When used with Canon’s EF-Series lens mount
³Automatic file transferring, available for cameras equipped with the automatic file transfer function, beginning with the currently-in-development EOS R5 (announced on 13 February 2020), requires users to connect the camera to a Wi-Fi access point that has been registered in advance
⁴For full details on Canon Australia’s 5 year warranty, visit https://www.canon.com.au/support/warranty

Articles: Digital Photography Review (dpreview.com)

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Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela

13 Mar

The post Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela Featured Image

In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.

The Explorers of Light Program, running since 1995, boasts some incredibly talented photographers. These photographers have spent years honing their craft, and influence and educate other photographers of all levels – something, we at dPS, can respect and relate to.

In this Canon Explorers of Light Q&A series, we interview photographer Roberto Valenzuela. He shares his experiences and gives tips to upcoming photographers.

Photographer Roberto Valenzuela

How did you get into photography?

My full-time career as a photographer began in March 2006. I had been married for a little over a year, and I decided to take some time off from teaching high school to attend the annual Wedding and Portrait Photographers International (WPPI) convention held in Las Vegas, Nevada.

This convention was the yearly gathering of more than 15,000 wedding and portrait photographers from every corner of the world.

The most exciting part was that some of the world’s top wedding photographers would be there, including the famous Canon Explorer of Light photographers, who are a group of elite photographers carefully chosen by Canon USA as the best photographers in the world in their respective fields. I was in heaven!

During WPPI, I realized that my passion for photography was just too strong to ignore. I felt an inexplicable calling to photography.

A very scary thought went through my head for the first time. The thought that I may want to follow my heart and perhaps leave my high school teaching career that I loved and worked so hard to get to dedicate myself to photography full time. Oh boy! I was in trouble.

How do I tell my wife? The woman I had just married and who relied on my humble income as a teacher to live and provide health insurance.

The thought of leaving a job I adored, and that provided me with a steady paycheck, scared the heck out of me.

Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela - Wedding Photography example — Roberto Valenzuela

The trip to WPPI changed my life. It was just an overload of brain stimuli.

I loved everything about photography – the cameras, lenses, lighting, software, the technical side, the artistic side, and – my favorite – the business side. It had it all!

I knew my wife Kim would be receiving her Master’s degree in Engineering in May, and she had landed a great engineering job upon graduation. Kim having her own income, definitely helped to solidify my decision to leave teaching and pursue a career as a full-time professional photographer.

That was probably the hardest decision I have ever made. It felt as if I was jumping into a dark hole without knowing how deep the fall would be.

That following week, I made an appointment with the principal of the school to tell her that I would not be continuing after that school year. I hugged her and thanked her for the amazing opportunity she had given me. But I had to pursue this new profession, or I would regret it for the rest of my life.

Before I left her office, she asked me if I was sure, and with a heavy heart, I said, “Yes, yes, I am.”

After that school year was over, my full-time photography journey began.

What was your first camera setup?

The first camera I bought was the Canon 20D, and the 28-300mm f/3.5-5.6 IS in 2006.

I didn’t have much money, so I put it all on one lens. I had to learn to work with this lens on every portrait and every wedding I shot.

It was especially difficult working with a floating aperture like this indoors, but that’s the only lens I had, so I figured it out.

Actually, it was that experience to only work with one lens that taught me a very valuable lesson – mastering the gear you have is something most people don’t really do.

For example, we all know what a 50mm f/1.2 lens is, but we don’t really know the ins and outs of that lens. How does it behave in the middle, or in the corners of the frame? What apertures provide the best sharpness for that lens? How does taking a portrait with a 50mm lens look at close proximity? Also, how does it differ from photographing a portrait with that lens at further distances?

I actually quite enjoyed knowing everything there is to know about one lens. Then I used that same mentality with all of my other lenses, cameras, and flashes I purchased in the future.

What camera gear do you use now and why?

I enjoy learning about new, evolving technologies. I love my SLR cameras, and I still have them. I have the Canon 5D Mark IV, the Canon 1D X Mark II, and the Canon 5DS.

But as soon as Canon launched their mirrorless line with the introduction of the Canon EOS R, I embraced the technology.

Although it is different than shooting with a regular dSLR, this camera opens opportunities that are simply impossible with a dSLR. For example, with the face-detection AF, I can take the camera away from my face and engage with clients face-to-face, and while the camera is tracking their face, I’m actually taking photos without the clients knowing.

Also, the ability to use a 1-stop to 9-stop variable neutral density (ND) filter that sits inside the lens adapter is one of my favorite features. This saves me from having to buy multiple ND filters for all of my lenses.

The ND variable filter also allows me to achieve a beautiful cinematic look outdoors by keeping my apertures wide open, such as f/2.0. Then I’m able to illuminate my subjects with the full capabilities of my flashes, and I can stay within the camera’s flash sync speed. This is amazing to me!

Regardless of how bright the light outdoors may be, I can drop the light as far as I want in seconds. Then add flash to my subjects with a color gel filter to do in-camera color grading.

How cool is that?

I am also quite excited about the new R EF lenses, especially the 28-70 f/2.0. These lenses are incredibly sharp and offer a great wide aperture.

However, my favorite feature of these lenses is the ability to program the control ring to whatever you want to fit the kind of shoot you are doing. For example, I programmed my control ring to quickly change my ISO in rapidly changing lighting conditions.

What area of photography do you specialize in and why did you move into that field?

My photography career began in Tucson, AZ.

In Tucson, there is not much of a fashion or beauty industry, but it is a very popular place to get married because of the beauty of the Sonoran Desert and Tucson’s famous sunsets.

On top of that, I was getting married myself during that time.

All of these factors led me to the world of wedding photography. And what a world it is!

I learned quickly that most important is what sets you apart from the hundreds of thousands of wedding photographers out there.

If I had to choose one aspect of my life that sets me apart from other wedding and portrait photographers, it would have to be my background as a classical guitarist. Being a classical guitarist forces you to develop a culture of great dedication to practice.

Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela
Bride in front of a mirror

In fact, in my 14 years as a photographer now, I have not missed a single month that I haven’t practiced something. Regardless of how busy I am, I always make time to practice 30 to 60 minutes a month.

This practice has come in very handy in the most difficult of times to create something truly special for my clients.

For example, the photo I took in Sarasota, Florida, during a hurricane. This photograph was taken late in the evening as the wedding came to an end at the Ringling Museum of Art in Sarasota, Florida. This photo has to be one of my all-time favorite wedding photographs in my career.

It had been raining all day and all night due to a hurricane passing by the area. To take advantage of the rain, I asked the Rolls Royce driver if he could park the car in front of the tree. I then asked my assistant to stand in front of the grid of the car with two Canon 600EXRT flash units.

One flash unit was used to backlight the couple, and the second was pointed towards the car’s headlights.

Illuminating the headlights would give the viewer the perception that this photograph was lit by the car’s lights. However, the car was not even on. When everything was set, I then asked the bride and groom to run out quickly. It took us a couple of tries to get it right, and maybe we got a little wet, but the photograph is magical, and it will last forever!

Without my relentless practice sessions with my flashes, I would have never been able to visualize this beautiful photo in the midst of a hurricane passing through the location of the wedding.

I have a full production studio in Beverly Hills now. Although I still shoot a few weddings a year, my focus has switched to commercial fashion photography.

Are you working on any exciting projects you’d like to share?

I am incredibly passionate about the benefits I have received from really taking the time to master all aspects of lighting and posing. The more you know about lighting and posing, the more fun you have as a photographer.

The art of photography just opens up to you in ways you never thought imaginable. The type of work you can produce with more knowledge is just incredible and addictive!

Because of this, I dreamed of creating the ultimate education platform for eager photographers wanting a concentrated level of the highest quality education in pure lighting knowledge.

So, I’m in the process of designing a conference. More details to come.

If you could share any photography tips with our readers, what would they be?

I would say that photography has opened doors in my life that I have never thought possible. But it has come because of my training.

My tip would be to never think you know something so well, that you don’t have to learn anymore. Keep your curiosity as big as that of a child. Learn how to pose so that people don’t look posed.

Also, learn how to light, so that the light communicates something to the viewer instead of using light simply to illuminate and create an exposure.

Embrace education, learning, and the new technologies available to help you expand your capabilities and become an even better visual storyteller.

Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela
Fashion photography example of Woman with feathers

See more of Roberto Valenzuela’s work here:

Instagram: https://www.instagram.com/roberto_photo YouTube: https://www.youtube.com/robertophotography Website: http://www.robertovalenzuela.com

The post Canon Explorers of Light – Q&A with Photographer Roberto Valenzuela appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Several Canon 1D X Mark III users are reporting issues with the OVF freezing in burst mode

11 Mar

A number of Canon 1D X Mark III owners have reported issues with Canon’s flagship DSLR, wherein the camera appears to lock up and fall asleep while shooting in continuous mode.

First reported nearly three weeks ago in the DPReview forums, users have noticed their 1D X Mark III cameras seizing up after a few shots, making the camera unusable for a few seconds until it appears to reset. DPReview reader Hamilton Pytluk made what we believe to be the first mention of the issue when he had the following to say (emphasis his) in the Canon EOS-1D forums:

“My only gripe so far [with the 1D X Mark III] has been what I believe to be a buffer “issue” when shooting through the OVF, which seemingly puts the camera to sleep after taking a series of shots (as few as 5 in my usage) and de-pressing the shutter (if you keep it half-pressed, it’ll stay “awake”). Everything shuts down — I can’t even open the menu — until the write (red) light stops flickering.”

DPReview forum member PrestoPhotographer responded to Pytluk’s post confirming they too were affected by this issue:

‘I have the same issue with the viewfinder ‘sleeping’. Incredibly frustrating when shooting soccer or any fast-moving sport. I’m sending mine back as it’s currently not usable for me. I’ve noticed the card access light going off randomly amongst some other bizarre things as well. I’m set up for an eventual exchange but no clue when they’ll get more stock.’

Pytluk responded with the following YouTube video, showing exactly what both users described: after ten shots in continuous mode, the digital markings on the optical viewfinder (OVF) went blank and shut off until the camera caught back up, at which point the shutter could be released again.

Follow-up posts in the thread confirmed this issue occurred regardless of whether or not a memory card was inside the camera.

We experienced a similar issue with a pre-production camera earlier this year, but have not replicated the problem with two production samples of the EOS-1D X Mark III currently undergoing testing at DPReview. We have contacted Canon for comment and will update this article if we receive a response. If you’ve noticed this issue on your 1D X Mark III unit, leave us a message in the comments below.

Articles: Digital Photography Review (dpreview.com)

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Irix announces its long-awaited 45mm F1.4 still lens for Canon EF, Nikon F and Pentax K mounts

09 Mar

Irix has announced the details of its new 45mm F1.4 manual lens for full-frame camera systems.

The lens was originally teased as a prototype way back in 2017 at The Photography Show. Last year, a cine version of the lens was released, but the still photography version remained to be seen, until today.

The 45mm F1.4 lens is based around Irix’s Dragonfly design technology, which uses an aluminum-magnesium alloy and composite elements to create a lightweight, but sturdy design that’s weather-resistant thanks to multiple gaskets throughout the lens. The focus ring has a 140-degree throw, a focus-lock feature and offers laser-engraved markings with luminescent paint for easier viewing in low-light environments.

No launch date or pricing information is available at this time. When the 45mmm F1.4 lens does launch, it will be available for Canon EF, Nikon F and Pentax K camera systems. We have contacted Irix to request more information and will update this article accordingly if and when we receive a response.

Articles: Digital Photography Review (dpreview.com)

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Canon Explorers of Light – Q&A with Photographer Bruce Dorn

06 Mar

The post Canon Explorers of Light – Q&A with Photographer Bruce Dorn appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Featured Image

In this Canon Explorers of Light Q&A series, we interview several professional photographers who are a part of Canon’s Explorers of Light program.

In this piece, we interview fashion, editorial and all-round photographer, Bruce Dorn.

Photographer Bruce Dorn

Bruce Dorn has been a professional photographer/cinematographer for 45 years and a member of the Directors Guild of America for 35 years.

Bruce is a Canon Explorer Light, an ARRI Ambassador, a SanDisk Extreme Pro, Western Digital Creative Master, Westcott Top Pro, Light & Motion Ambassador, Tiffen Steadicam Pro, Corel Painter Master, and a Member of the Adobe Dream Team. Bruce seems nice but Chuck Norris trembles at the mere sound of his name.

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Portrait of Bruce Dorn with an eagle sitting on his canon lenses.

How did you get into photography?

In July of 1969, just after I turned 18, my brother-in-law loaned me a 35mm Pentax Spotmatic with a 50mm Takumar lens. I had just seen “Easy Rider” and was inspired to take my own road trip through the American Southwest.

I shot a ton of Kodachrome, had a crazy good time, and returned home to pursue a Bachelor of Fine Arts degree in Visual Communications with a minor in photography.

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Fashion Image

While in my last year in college, I entered and won a creativity competition staged by Conde Nast, the publishers of Vogue Magazine and several other fashion titles.

After graduation, I joined Mademoiselle Magazine as a guest editor, and I began art directing and shooting fashion spreads in NYC, Reykjavik, Paris, and Rome.

Within weeks of receiving my diploma, I signed the lease on a 4,000 sq ft penthouse loft on 5th Avenue in Manhattan and got to work. I’ve stayed busy ever since. A bit of a dream career, really.

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Photographs of Woman beside an aircraft in afternoon light

What was your first camera setup?

The first camera setup I bought was an inexpensive 35mm Mamiya-Sekor DTL 500 with a 50mm lens. The second piece of kit I acquired was a 500W, 3200K incandescent floodlight. The camera is long lost in the mists of time, but I still have that light. It’s a novelty keepsake at this point, but it serves as a reminder that creative lighting has always defined my shooting style – and kept me gainfully employed.

What camera gear do you use now and why?

I’ve shot everything from 35mm to 8”x10” film cameras for stills and 16mm to 70mm VistaVision cinema cameras, but now I’m 100% digital.

Canon is my platform of choice for both stills and cine, and I always use the latest versions. Currently, I’m really high on the Canon EOS 1Dx MKIII and excited about the upcoming mirrorless EOS R5.

Canon cameras always deliver amazing color, and Canon Professional Services are unequaled. And the lenses? I have a very large collection, from extreme wide-angle to super-telephoto.

The photography gear that Bruce Dorn has in the back of his car. Who wouldn't want that? — Yes, who wouldn’t love this to be the back of their car?

People frequently ask me how much such a huge assortment of gear costs, and I always point out that it isn’t about how much gear costs me – it’s about how much it earns for me.

Just like a championship-winning race car mechanic, full-service professional photographers must eventually possess a very large toolbox. It pays for itself.

What area of photography do you specialize in, and why did you move into that field?

I get bored very easily, so over the years, I’ve worked to become a specialist in a lot of different categories.

I shoot editorial, fashion, beauty, automotive, nature, adventure, travel, extreme sports, underwater, environmental portraiture, aerial, and advertising – in both stills and cinema.

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – An example of his fashion photography

Bruce Dorn's fashion shoot with models in the desert

Are you working on any exciting projects you’d like to share?

Always! Unfortunately, the bulk of my commercial work is under a non-disclosure agreement, so I can’t be specific. Follow my Instagram feed, and you’ll see lots of cool stuff posted there – once I’m out from under the NDAs and able to freely share. My Instagram handle is: @dorn.bruce

Between professional gigs, I try to do as much mentoring as I can. I’m currently working with a fourteen-year-old Hopi Indian girl who simply loves landscape photography. We get together for shooting adventures around Arizona whenever our schedules allow!

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Young woman on a motorcycle

If you could share any photography tips with our readers, what would they be?

Great photography is all about where you stand, both literally and philosophically. Work on discovering and polishing your own unique point-of-view.

With so much information instantly available online, it’s super-easy to mimic the work of others but don’t – that’s ultimately a dead-end journey. Focus, instead, on shooting a lot, and eventually, your own unique path will be revealed. Own it.

Oh, and light that faint little path…learning to illuminate your world with great lighting is the smartest thing you will ever do. Invest in quality lighting instruments and learn how to use them. I suggest looking at color-correct and dimmable LED units for the greatest versatility. Shine bright!

Bruce Dorn photography – a shot of the studio set up for his marionette shoot.

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Marionette shoot

Bruce Dorn Biography

Bruce Dorn has been a professional photographer/cinematographer for 45 years and a member of the Directors Guild of America for 35 years.

See more of photographer, Bruce Dorn’s work here:

Instagram: @dorn.bruce
Facebook: bruce.dorn
Website: www.brucedorn.com

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Portraits

Bruce Dorn photograph of 3 Zebras in Black and White

Canon Explorers of Light Series Q&A with photographer Bruce Dorn – Image of a woman on the edge of a red plane wing

Bruce Dorn Photography, shows a woman against a purple background with red lights

Bruce Dorn photography, shows cars driving across a sandy desert from a high perspective.

The post Canon Explorers of Light – Q&A with Photographer Bruce Dorn appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

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Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses)

03 Mar

The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

According to Canon Watch, a new rumor suggests that Canon may be developing a new R-series camera:

A body with an APS-C sensor.

As Canon fans will know, Canon currently offers two mirrorless camera lines:

The EOS M series, with options such as the Canon EOS M50, the Canon EOS M6 Mark II, and the Canon EOS M5, uses only APS-C sensors;
and the EOS R series, which currently only features the Canon EOS R, the Canon EOS RP, and the Canon EOS Ra, has thus far been composed of full-frame bodies.

Note that a fourth Canon EOS R body, the R5, is also on the way, and will continue the full-frame tradition.

But it seems that Canon’s lineups may be changing.

According to Canon Watch, the rumor indicates that the new APS-C camera (dubbed the EOS R7) will debut in 2021, along with three APS-C RF lenses.

And Canon Watch goes on to discuss the possibility that the EOS R7 will be a successor to the much-loved Canon 7D Mark II, which dropped way back in 2014. Interestingly, the Canon 7D Mark II is only slightly overdue for an upgrade, given that it was announced five years after its predecessor, the Canon 7D.

If the Canon EOS R7 were a spiritual successor to the 7D Mark II, then we could expect a camera designed for sports and wildlife shooters, packing a fast continuous shooting rate and a top-of-the-line AF system.

But the question remains:

Is Canon even interested in creating an APS-C R camera?

There are reasons to think that Canon might be considering this possibility. For one, the success of Fujifilm’s X-series, as well as Sony’s higher-end a6000 offerings, suggests that there’s a real market for higher-level mirrorless APS-C cameras.

That said, you do have to wonder whether a 7D Mark III would make sense as Canon’s first EOS R APS-C camera, especially when plenty of action shooters are going for a Canon 1D X Mark III over alternatives such as the Sony a9 Mark II due to the perceived inadequacy of mirrorless cameras. Sure, the 7D Mark II is due an update, but I’m not sure that mirrorless technology (and viewfinders in particular) have matured enough to fully convert the 7D Mark III’s intended audience.

Regardless, Canon has been focusing heavily on its RF lenses and R-series lineup, and this is a trend that should continue over 2020. It’s plausible that Canon will decide to consolidate its mirrorless systems for the sake of efficient development, especially as Canon also continues to produce DSLR cameras.

So keep an eye out for more news regarding this APS-C camera; if there is any truth to this rumor, there will undoubtedly be more talk down the line.

The post Canon May Release an R APS-C Mirrorless Camera (Plus APS-C RF Lenses) appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Canon is temporarily shutting down five of its factories due to supply shortages caused by COVID-19

02 Mar

A factory worker inside Canon’s Utsunomiya factory (not one affected by these closures) works on a telephoto prime lens.

Canon has announced it will be suspending operations at five of its plants on Japan’s Kyushu island due to supply shortages from China caused by COVID-19 (Coronavirus).

The five factories, located in the Oita, Miyazaki and Nagasaki prefectures, produce cameras and other photographic gear. The manufacturing facilities will shut down from March 2 to March 13, with Nikkei (translated) reporting these missed production days will be made up at a later time in the year when the supply of parts is more stable.

DPReview has contacted Canon for more details on what products these closures will affect. We will update this article accordingly if we receive a response.

Articles: Digital Photography Review (dpreview.com)

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Sigma shows EF-M mount primes for Canon cameras at WPPI

29 Feb

Hands-on with Sigma’s APS-C primes for Canon at WPPI

Sigma’s DC DN EF-M primes have been the talk of the town for EF-M mount users for months now, but they’ve been in relatively short supply (we’ve only got the 56mm F1.4 in the DPReview offices so far). But during our time at WPPI, we got a chance to see all three in-person and find out how they balance on Canon’s latest APS-C mirrorless flagship, the EOS M6 Mark II.

Pictured above is the most compact of the three, and the most recently released – the 56mm F1.4 DC DN. Offering an equivalent focal length of around 90mm (remember, Canon’s APS-C crop is 1.6x), it’s a fantastic option for portraits. Actually, in the EF-M system, it’s really the only native option for portraits, though you can of course make do with the kit zooms or adapt DSLR lenses.

As you can see, the 56mm is light on external controls, with only a large, rubberized manual focus ring on the exterior that is smooth and well-damped.

Sigma 56mm F1.4 DC DN

Around the front of the lens is a 55mm filter thread, and down the barrel are nine aperture blades. The lens weighs 280g and feels dense without being heavy, and balances exceptionally well on the EOS M6 Mark II. It will focus down to 0.5m (~20″) with a maximum reproduction ratio of 0.14x.

The optical formula is composed of 10 elements in six groups, including one ‘super-low dispersion’ element. Unfortunately, there’s not much to see around the back of this lens. There’s no rear gasket for keeping out moisture or dust on any of this trio of lenses.

Sigma 30mm F1.4 DC DN

Up next is Sigma’s 30mm F1.4 DC DN. This lens is basically going head-to-head with Canon’s EF-M 32mm F1.4, but we don’t mind a bit of competition. The Sigma gives you a 35mm-equivalent focal length of 48mm, while the Canon gives you 51.2mm. That type of difference is unlikely to really influence your purchasing decision, though the Canon’s much greater magnification ratio (0.25x to 0.14x) and higher price point ($ 479 to $ 339) might.

In any case, the Sigma 30mm F1.4 balances quite well on the EOS M6 Mark II, being a bit lighter than the 56mm F1.4 but a bit longer as well. A well-damped rubberized focus ring is likewise the only external control.

Sigma 30mm F1.4 DC DN

The Sigma 30mm F1.4 DC DN has an optical formula of nine elements in seven groups, with one of those elements being aspherical and another being double-sided aspherical. There are nine aperture blades and the front filter diameter is 52mm.

We actually reviewed this lens back nearer to its release, and on a Sony APS-C camera, we found it to be excellent.

Read our review of the Sigma 30mm F1.4 for Sony E-Mount

Sigma 16mm F1.4 DC DN

Last and largest is the Sigma 16mm F1.4 DC DN. It’s actually one-and-a-half times longer than the 56mm F1.4, and the heaviest of the three by 125g, or more than a quarter of a pound.

This lens is likely to be of interest to EF-M users, who up until now had only one native wide-angle lens at their disposal: the excellent (but slower-aperture) 11-22mm F4-5.6 zoom. This 16mm F1.4 should be a great option for lower light shooting, events, astrophotography and more.

It balances fairly well on the EOS M6 Mark II, but is a bit front-heavy. It’s not a very comfortable combination in the hand on Canon’s grip-less EOS M200.

Sigma 16mm F1.4 DC DN

Down the barrel, past the 67mm filter threads, we see a nine-bladed aperture, just like the other two. This should be great for creating 18-point sunstars in landscape scenes. In addition to being the biggest, it’s also the most optically complex of the group, with 16 elements in 13 groups, including a total of seven specialty elements, and it can focus down to as close as 0.25m (9.84″) for a maximum magnification of 0.1x.

Hands-on with Sigma’s APS-C primes for Canon at WPPI

And that’s it for Canon’s trio of DC DN F1.4 prime lenses, now becoming readily available for EF-M mount. We find that these lenses make an enormous difference in the appeal of Canon’s mirrorless APS-C system, but what do you think? Are you planning to pick any of these up for yourself? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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Canon EOS R5 Is Being Developed, But Don’t Forget About the R1

27 Feb

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

The Canon EOS R5 hasn’t yet hit the shelves, but the rumors keep coming regarding Canon’s full-frame mirrorless line.

Rumors which promise something even more exciting (for those of us who can be patient, that is!).

Now, the Canon EOS R5 is plenty thrilling in its own right. It was officially announced by Canon earlier this month and is positioned to correct a number of the much-criticized flaws of the Canon EOS R and EOS RP, Canon’s two major full-frame mirrorless offerings.

In particular, the R5 promises to feature some form of in-body image stabilization, which is considered by many to be a defining aspect of mirrorless technology.

The R5 will also offer dual card slots, 20 frames-per-second continuous shooting with the electronic shutter (this drops to 12 frames per second with the mechanical shutter), and an incredible 8K video recording capability. The R5 is rumored to begin shipping sometime this July.

Canon is calling the R5 its “most advanced full-frame mirrorless camera ever,” and they’re undoubtedly right, though some might claim the EOS R/RP duo set a low bar.

That said, Canon seems determined to push their mirrorless lineups to greater heights. According to Canon Rumors, the R5 is “definitely not the ‘professional’ EOS R mirrorless camera” that Canon is developing, in reference to an action-focused mirrorless camera teased by Canon, one that would potentially rival the Sony a9 Mark II, as well as the Nikon D6 and the Canon 1D X Mark III.

Canon Rumors states that the “professional” camera, dubbed the “EOS R1,” should appear in 2021, and suggests that there may be a reveal in the final months of 2020.

In a sense, this Canon EOS R1 is only interesting as a marvel of innovation. We all want to see Canon push its mirrorless development to the next level (though advanced features do have a tendency to trickle down to lower models). But the EOS R1 will almost certainly be prohibitively expensive, and it won’t be the type of camera the average photographer wants or needs. Instead, it’ll be like its potential competitors, the 1D X Mark III, and the D6: interesting in concept, but relevant only for a niche audience.

The EOS R5, on the other hand, may be positioned much like the Canon 5D Mark IV. The 5D Mark IV is an impressive camera, and while it’s not Canon’s “true” professional option, it’s a body used by plenty of professionals. Many of these photographers hoped to see an upgrade in the form of the Canon EOS R and were disappointed by its lack of IBIS and single card slot.

So maybe, with the EOS R5, Canon will finally produce what was hoped for over a year ago.

What do you think? Are you excited about the EOS R5? How about the R1? If so, why? Let me know in the comments!

The post Canon EOS R5 Is Being Developed, But Don’t Forget About the R1 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Canon shows off EOS R5, RF 100-500mm lens under glass at WPPI

27 Feb

Canon EOS R5 at WPPI

The upcoming Canon EOS R5 was on display at the company’s booth at the 2020 WPPI Expo in Las Vegas, so we stopped by (and nudged our way past other attendees as politely as possible) to get a closer look. The representatives present at the booth couldn’t provide any details beyond the development announcement; “what’s been published is all we know,” was the common refrain. In case you missed it, here’s what we know:

Newly designed CMOS sensor (we’re guessing ~40MP)
In-camera image stabilization
20 fps continuous shooting (silent shutter)
12 fps continuous shooting (mechanical shutter)
8K video capture
Twin card slots

Still, we took some photos to get a better idea of what Canon’s done ergonomically to its upcoming full-frame mirrorless model.

We can see right away that the grip is deeply sculpted, with an almost-certainly customizable function button near the lens mount. Just behind the ‘EOS R5 DEVELOPMENT ANNOUNCEMENT’ label there’s another port door that’s hard to see, but may conceal a socket for a remote release or wireless transmitter.

Card slots

Here down the side of the camera we can see the card slot door. Again, all we know is that there are dual slots behind there; but the advertised provision of 8K capture means that they’ll need to be speedy, even with a good compression algorithm. Dual-type slots on the EOS 5D Mark IV could be a hint here; perhaps we’ll see one SD slot and one CFExpress slot. Or maybe just dual UHS-II SD card slots. Time will tell.

Top panel

On the top right of the camera, we can see what looks to be an identical control layout to the existing EOS R. The same status panel, and the same Mode + Dial combo for changing your exposure modes. Do you prefer this way of working, or do you long for an old-fashioned mode dial like Canon put on the lower-end RP? Let us know in the comments.

On/Off switch

On the opposite side of the camera is the on/off switch, similar in size to those on the EOS R and RP, but there’s a bit more of a protrusion near the back, perhaps for easier operation with your thumb. That also looks to be a polycarbonate panel surrounding the flash hot shoe, which is likely a ‘window’ for the camera’s wireless connectivity antennas.

Rear plate controls

Apologies for quality of this image, but the camera was nearly up against the back of the display, and there was no visibility from back there – so we have to make do with this top-down angle.

First of all, in the place of the EOS R’s touchbar is a traditional AF joystick and better-placed AF-ON button. Just underneath that is a dedicated ‘magnify’ button for checking focus, along with ‘INFO’ and a ‘Q’ button for pulling up the on-screen quick menu.

Underneath this is a thumb-dial surrounding a ‘SET’ button; this is a familiar setup from many of the company’s DSLRs, and is making its first RF-mount appearance here. No surprise, the screen looks to have the same swivel-out and rotate design as the R and RP, but next to the ‘Menu’ button on the top left is a dedicated ‘RATE’ button, which is accompanied by a microphone. It could be that the R5 lets you attach audio clips to your images using this control.

Rounding out controls on the back of the camera are the traditional ‘Star’ and ‘Focus Selection’ buttons on the top right.

Ports

Again, given the nature of the display, this is the best view of the ports I can get you – but everything is legible, at least. So we know that there will be microphone and headphone ports, a remote port, and a USB (likely type-C) port and HDMI output. You can also get a clearer view of the port cover on the bottom-front of the camera.

It looks like there may be enough distance from the screen hinge to the mic and headphone ports that they won’t get in the way of each other, so fingers crossed on that.

Let’s take a look at the RF 100-500mm lens, also under development.

Canon RF 100-500mm F4.5-7.1L

In amongst the EOS R5 announcement was the teasing of ‘nine RF lenses’ coming later this year, including the RF 100-500mm F4.5-7.1L IS USM on the right side of this image. For comparison, it’s sitting next to an existing EF 100-400mm F4.5-5.6L IS II; the 100-500mm is a little chunkier, but of course, you’d need a teleconverter on the 100-400mm lens to get the same reach and that would add bulk of its own.

Canon RF 100-500mm controls

Here we can see the ‘smooth / tight’ ring the new RF 100-500mm shares with the EF 100-400mm. This basically sets the resistance of the zoom mechanism, depending on your preferences, or if you just want to eliminate zoom creep when you’re not actively shooting. We can also see the AF/MF switch and a focus limiter option.

Canon RF 100-500mm controls

Way down there, we can see the rest of the switches on the RF 100-500mm F4.5-7.1L, which include a stabilizer on/off switch and a ‘stabilizer mode’ option, giving users an option to bias the stabilizer depending on whether you want absolute stability or if you’re doing panning.

Canon EOS R5 at WPPI

And there you have it – Canon’s upcoming high-end, full-frame mirrorless camera, under glass. We’re hoping to learn more soon, but in the meantime what are you most excited for about this camera? Would you consider getting one yourself? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

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