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Canon EF-M 22mm F2 STM sample gallery

05 Nov

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The Canon EF-M 22mm F2 is by no means a new lens. But it’s a lens we find ourselves returning to again and again as we test Canon’s mirrorless cameras. It’s matched perfectly to small, mirrorless camera bodies; put it on an M100 and you’ve got an extremely compact and lightweight combination that’s ideal for everyday situations.

We’ve collected some of our sample images with this handy little lens from years past into a single gallery – take a look.

See our Canon EF-M 22mm F2 STM
sample gallery

Articles: Digital Photography Review (dpreview.com)

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Canon 85mm F1.4L IS USM sample gallery

01 Nov

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The Canon 85mm F1.4L, announced at the end of August, updates the company’s series of 85mm primes with a useful new feature: image stabilization. The lens isn’t as fast as the 85mm F1.2L II that came before it, but should offer the ability to shoot handheld at slower shutter speeds.

True to its L-series branding it’s dust- and weather-sealed, and it ships this month for $ 1600. DPR staffer Carey Rose and friend of the site Michael Bonocore have been shooting with it on the road and closer to home – take a look at some sample shots.

See our Canon 85mm F1.4L IS USM
sample gallery

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Canon G1 X Mark III pre-production sample gallery

30 Oct

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The Canon G1 X III isn’t a whole lot bigger than the G5 X, but it hosts a much bigger APS-C sized sensor. Consider its 24-70mm equiv. lens, Dual Pixel AF, built-in EVF and generous dedicated controls and you’ve got a versatile tool that juuuuust fits in your coat pocket. We’ve been shooting with a pre-production model; the JPEG images in this beta gallery have been down-scaled to 90% at Canon’s request.

See our Canon PowerShot G1 X Mark III pre-production sample gallery

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Canon EOS M100 shooting experience and gallery

30 Oct

Washington State is known as the Evergreen State, a slogan that is emblazoned on automotive license plates from Seattle to Spokane. New York is the Empire State. Montana is Big Sky Country, and Florida is the Sunshine State.

What about Idaho? Famous Potatoes.

Seems to me there’s a lot more to Idaho than just potatoes. Processed and cropped to taste in Adobe Camera Raw using the Camera Landscape color profile. Great exposure in full automatic mode.
ISO 200 | 1/250 sec | F2.8

While on a recent road trip through Idaho, this topic of state slogans came up with a few traveling companions who happen to live in the state capital, Boise. In all fairness, it does look like there is an updated slogan. “Great Potatoes. Tasty Destinations.” Eh. Somehow, it still fails to capture any sense of the awesome beauty that I experienced on my first trip through the north-western part of the state, along the Snake River and Hells Canyon and through the Clearwater Mountains.

The primary reason for this trip was to get some more shooting time in with the Canon EOS 6D Mark II. But I also threw the new, beginner-friendly Canon EOS M100 with the 22mm F2 pancake prime into my jacket pocket for capturing some of the lighter moments on the trip.

And given just how much of a thing I have for large-sensor compact cameras with prime lenses, it shouldn’t be much of a surprise that I really, really enjoyed it.

What Canon got right

Not a bad parking spot. Processed to taste in Adobe Camera Raw using the Camera Neutral profile.
ISO 100 | 1/250 sec | F5.6

The most important thing that Canon got right with this camera is that it’s just fun to use. With a good full Auto mode, and an easy switch over to Program Auto or Aperture Priority, it was easy to just yank the M100 out of my pocket, take a quick shot, and put it back in at a moment’s notice. This was especially handy on, say, the top of a mountain with failing post-sunset light.

Despite the fairly serious guts in the M100, which include Canon’s newest 24MP APS-C sensor and Digic 7 processor, the M100 doesn’t feel like too ‘serious’ a camera to use. While it sometimes seemed overkill to take out the 6D II for some photos of late-night photo editing or a trip to the pool hall, the EOS M100 just seems made for such photographic opportunities.

Image processed to taste in-camera using tuned monochrome settings, with increased sharpening and contrast – still another good exposure from full Auto mode.
ISO 6400 | 1/40 sec | F2.8

It’s also true that default sharpening and noise reduction values aren’t really our favorites on Canon’s recent cameras, but if your main purpose is getting better photos than what your cellphone can capture and then uploading to Instagram, it doesn’t seem to be too much of a problem. Speaking of cellphones, the built-in NFC on the M100 (which the older M10 also has) makes pairing with Android phones an absolute breeze.

And if you find yourself needing to tweak your images, the M100 is one of the few entry-level Canon cameras that allows for in-camera Raw processing, which is a really nice touch. It also makes it easier to find your preferred settings.

Lastly, the tilting touchscreen combines with the excellent Dual Pixel AF to make shooting from the hip a really addictive experience.

Smartphone cameras are steadily improving, but there’s no way my phone could handle this sort of thing. Processed and cropped to taste in Adobe Camera Raw.
ISO 2000 | 1/60 sec | F2

Things to consider

Of course, there’s also a couple things Canon could improve. I mean, look at this USB port. Just look at it.

What’s wrong with this picture?

First off, that’s a mini USB port, not the far more common micro USB port, so good luck finding a cable should you need to transfer over USB. The bigger issue is that the USB port included on the M100 does not support USB charging – something that’s also true of Canon’s EOS M5 and M6.

These cameras, particularly the tiny M100, practically beg to be travel cameras, at least with the pancake prime. Even if I’m traveling ultra-light, I’ll need a charger for my phone, and being able to share that between the phone and camera means one less power brick to lose. Plus, if I do lose it, a generic USB charger is damned near ubiquitous compared with something that works specifically with Canon’s LP-E12 batteries. And if you already have a bigger Canon kit with its own chargers, do you really want to carry another dedicated charger?

Besides that, I do wish that the M100 came with the M6’s screen mechanism. The fact that the screen only flips up makes shooting top-down difficult, but it’s better than a screen that doesn’t tilt at all, particularly given the M100 lacks a viewfinder. Of course, a more complex screen mechanism would likely mean a bigger physical size, so there’s no free lunch here, I suppose.

Tilt-up screens – great for low angles with pets and kids, lousy for high angles of whatever it is you might be eating. Out-of-camera JPEG in auto mode, cropped to taste.
ISO 200 | 1/250 sec | F5

Lastly, there’s no getting around the limited native lens ecosystem for Canon’s EF-M mount. Seriously, I love the 22mm F2, but it’s the only compact, fast prime they’ve released in five years. The 35mm macro option is great to have, and the 11-22mm wide-angle is of high-quality, but is it too much to ask for a native fast 50mm equivalent? Given the system’s size, packing an extra lens or two isn’t going to be too much of a stretch for people who are into photography, but there just aren’t great options out there right now.

The wrap

This Idaho roadtrip got me thinking. We did, of course, do a lot of serious photography with the Canon EOS 6D Mark II, including some portraits with Canon’s gorgeous new 85mm F1.4L IS as well as some off-road action with something called an RZR. For the more serious stuff, the 6D Mark II was far and away the better tool.

But after a full day of shooting, when I’d stumble across some nice light or a casual moment I wanted to capture, I found that having the M100 in my pocket was a godsend, especially if it was my main option while the 6D II’s batteries were charging, or files were backing up, or I simply didn’t want to carry a full-frame DSLR with me out to dinner.

The EOS M100 was great for when I wanted to unwind from using a full-frame DSLR all day, but still have the capability to snag some nice photos. Out-of-camera JPEG.
ISO 4000 | 1/60 sec | F2

For the serious photographer, the M100 doesn’t make much of a case for itself as that user’s only camera. But for someone looking for a fun second camera, or a smartphone user looking to get into more serious photography with an excellent and easy-to-use touchscreen interface (i.e. the camera’s intended audience), the EOS M100, with its updated sensor, processor and autofocus system, is definitely worth a look. And sure, it’s just another ‘entry level’ model, but kind of like Idaho and it’s ‘famous potatoes,’ you may find there’s a lot to like in the M100 when you start exploring it – or better yet, exploring with it.

Sample gallery

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Hands-on with new Canon L-series primes

27 Oct

Hands-on with new Canon L-series primes

Two months ago Canon announced four new L-series prime lenses: the TS-E 50mm, 90mm and 135mm F2.8L Macro and the 85mm F1.4L. We’re at the Photo Plus Expo in New York, and we just got our hands on them. Click-through for some images and first impressions.

Hands-on with new Canon L-series primes

All of the new TS-E lenses are (like all tilt-shift designs) manual focus, and all feature broad, well-damped focus rings. The TS-E 90mm F2.8L Macro (shown above) covers a classic portraiture focal length and should be useful for both portraiture and product photography.

Hands-on with new Canon L-series primes

While people tend to associate tilt-shift lenses with landscape photography, short and medium-telephoto designs are very handy for portraits, where it can be difficult to maintain sharp focus on a subject’s eyes (both of them) at wide apertures.

Similarly, close-up product images and macro photography where it isn’t always practical or desirable to stop down too much for increased depth of field. Using a tilt-shift lens, sharpness can be maintained across the depth of a subject, without sacrificing background blur.

Hands-on with new Canon L-series primes

This is the 135mm F2.8L Macro – unsurprisingly, a larger and heavier lens than the 90mm pictured in the previous slide. All three of Canon’s new TS-E primes feature the same basic tilt-shift mechanism, offering a wider range of adjustments compared to Canon’s older lenses, and updated coatings. In the 135mm F4L, SubWaveLength Structure Coating (SWC) helps reduce flare and ghosting.

Hands-on with new Canon L-series primes

Unlike Canon’s more conventional L-series lenses, the TS-E range is not (and has never been) weather-sealed. As such, they lack the rubber gasket around the lens mount that you’d expect to see on other L-series primes and zooms. According to Canon, the complexity of the tilt-shift mechanism makes weather-sealing impractical.

Hands-on with new Canon L-series primes

All three of the new TS-E primes offer the same magnification ratio of 1:2. This isn’t quite ‘true’ macro but for many purposes it should prove adequate for close-focus work, even with relatively small subjects. As you can see in this view, the tilt and shift knobs on the new primes are large, and easily distinguishable from one-another.

Every aspect of the new TS-E lenses feels extremely well-machined. Canon has long experience of designing tilt-shift primes and everything from build quality to the feel of the zoom rings oozes quality. With the lenses locked in a tilt/shift position, there is no give in the mechanisms at all (which is exactly what you want in a lens of this kind).

Hands-on with new Canon L-series primes

The shortest and lightest of the TS-E trio is the TS-E 50mm F2.8L Macro. Like the 135mm F4, the 50mm also benefits from SWC coating, and a new Air Sphere Coating (ASC) which Canon claims ‘provides amazingly high, anti-reflective performance, particularly when alleviating incidental light that can enter a lens’.

Hands-on with new Canon L-series primes

The new Canon TS-E 50mm F2.8L Macro, TS-E 90mm F2.8L Macro and TS-E 135mm F4L Macro lenses are all scheduled to be available November 2017 for an estimated retail price of $ 2199.

Read more about Canon’s new TS-E lenses

Hands-on with new Canon L-series primes

Announced alongside the TS-E primes in August was the 85mm F1.4L. A classic portrait prime, the 85mm updates the venerable 85mm F1.2L II in many respects, while not offering quite the same brightness.

Apart from the minimum aperture, the most obvious update compared to the older 85mm designs is image stabilization, up to a claimed 4 stops. In theory, this means that you should be able to hand-hold the new lens at shutter speeds as low as 1/15 sec, but of course this assumes no subject movement.

Hands-on with new Canon L-series primes

A nine-bladed aperture is designed to deliver attractive bokeh for portraiture and as we’d expect from Canon’s L-series lenses (except the TS-E models) the new 85mm F1.4L is dust and weather-sealed. At 950g (roughly 2lb) the lens isn’t exactly lightweight, but doesn’t feel heavy and remains well-balanced on the EOS-1DX Mark II that we used at the show.

Optical construction of the EF 85mm comprises 14 elements in 10 groups, with one large diameter, high-precision molded glass aspherical element. Like the 135mm and 50mm TS-E primes, the 85mm F1.4L features an Air Sphere Coating. It will be available next month, for $ 1600.

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Hands-on with the impressively small Canon PowerShot G1 X Mark III

26 Oct

Hands-on with new Canon PowerShot G1 X Mark III

Canon’s new PowerShot G1 X Mark III combines a 24MP APS-C sensor and hybrid autofocus system in a pricey but impressively compact body. Canon has been showing it to us at the Photo Plus Expo show in New York, and we’ve compiled some first impressions of how it handles.

Hands-on with new Canon PowerShot G1 X Mark III

As should be obvious from this photograph, the G1 X Mark III is very small indeed, for an APS-C format camera. Despite being barely larger than the 1″ format PowerShot G5 X, the G1 X Mark III’s sensor and Dual Pixel autofocus system are lifted directly from the company’s latest APS-C DSLRs.

Unlike the G5 X or Canon’s Rebel-series DSLRs though, the G1 X Mark III offers weather-sealing. We didn’t get the chance to soak it with water yet, but just from initial impressions of this late pre-production sample, build quality seems excellent (which it should, for a compact camera at this price).

Hands-on with new Canon PowerShot G1 X Mark III

A front control dial isn’t in quite the same position as it is in Canon’s DSLRs, but it works in exactly the same way. Our model for these shots has pretty small hands, but even with my big banana fingers, the G1 X Mark III is comfortable to hold and the manual controls are (by and large) easy to find by touch.

The 24-72mm F2.8-5.6 sacrifices brightness and zoom range for size, but covers a useful range for everyday photography. Despite the relatively slow aperture at 70mm, autofocus is fast and impressively positive, even in the very dim conditions of a show floor meeting room. Obviously this is highly anecdotal, and we’re keen to put the autofocus system to the test properly as soon as possible.

Hands-on with new Canon PowerShot G1 X Mark III

The G1 X Mark III handles more or less exactly like the G5 X, which in turn handles more or less like a miniaturized Canon DSLR (witness the exposure mode dial on the upper left and EOS Speedlite-compatible hotshoe), but with some differences. There’s no top-plate mounted LCD screen obviously, and the triple dial arrangement (one around the lens, one on the front grip, and one on the rear) is different, but for a user of any recent Rebel-series DSLR, the G1 X Mark III should be pretty easy to get to grips with.

The dedicated +/- 3EV exposure compensation dial on the upper right of the top-plate will be familiar to users of other recent PowerShots.

Hands-on with new Canon PowerShot G1 X Mark III

From the rear, the G1 X Mark III is dominated by a 3″ fully-articulating touch-screen, with all the bells and whistles that we’d expect: generous on-screen informational icons, live histogram, and an electronic level, as well as menu access and touch-to-focus. Overall performance seems very snappy, with no noticeable delays in menu or touch operations. The one exception to the generally nicely-sized control points, by the way, is the rather fiddly rear dial (just to the right of the screen).

Hands-on with new Canon PowerShot G1 X Mark III

The G1 X Mark III’s screen is fully-articulating, and supplemented by a high-quality OLED 2.36 million-dot electronic viewfinder. As well as stills, the G1 X Mark III can shoot full HD video at up to 60p. Still no 4K, though. Maybe next year.

In terms of continuous stills shooting performance, the G1 X Mark III maxes out at a creditable 7 fps.

Hands-on with new Canon PowerShot G1 X Mark III

Obviously, to make the G1 X Mark III as compact as it is, Canon has had to make some compromises. As well as the relatively restricted 24-70mm lens range, the battery is pretty anaemic, offering a CIPA rated life of around 200 shots. We’d expect better endurance in normal use, shooting more stills than video and with limited use of flash, but regardless – best to budget for at least one spare battery.

The PowerShot G1 X Mark III will be available next month for $ 1299. Optional accessories include a dedicated lens hood ($ 59), underwater housing ($ 499) and leather case ($ 99).

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Canon G1 X III vs. Sony Cybershot RX100 V

22 Oct

Canon G1 X Mark III vs Sony RX100 V

The year is 2017. Smartphones have rendered the $ 200 compact obsolete, and they’re creeping up on $ 500 interchangeable lens cameras. Things look bleak. But lo! Camera manufacturers have stumbled upon a niche market that can soften the blow they’ve been dealt by mobile devices: the ultra-pricey premium compact.

Sony is five generations deep in the category. Canon offers a variety of large sensor compacts, but none have looked quite as promising as the G1 X Mark III. If you’re set on investing in a seriously capable compact, no doubt these two cameras will be on your list. Here’s how they square up.

Sensor

In the Canon G1 X III you get a very familiar 24MP APS-C sensor with Canon’s modern Dual Pixel design. The RX100 V offers a much smaller 1″ chip with 20MP and an evolved stacked CMOS design, with impressive tricks like slow motion video and 24 fps bursts.

They’re both very capable sensors, but there’s just no avoiding that the G1 X III’s chip is much bigger. This means it can tolerate more light, which will provide a little more flexibility in brighter light and high contrast scenes. But beware: even though larger sensors typically perform better in low light and blurry background applications, that won’t necessarily be the case in this comparison… because of the…

Lens

The G1 X III and RX100 V are both built around a useful 24-70mm equivalent zoom.

The Sony offers an F1.8-2.8 aperture to the Canon’s F2.8-5.6, and you might be tempted to think that the RX100 V offers more flexibility for separating subjects from backgrounds. Or collects more light in low light. Or you might be tempted to think that the Canon is better in both these departments because of its larger sensor. Resist the temptation. Repeat after me: equivalence is our friend.

Because of their size difference, the RX100 V’s lens is equivalent to a F4.9-7.6 on full-frame; the Canon is equivalent to F4.5-9. So it’s really likely to be a wash in both the subject isolation and low light departments: the Sony is a little better on the long end, and the Canon is a tiny fraction better on the wide end. Either way you’re getting a zoom range that’s handy for plenty of shooting situations, with a built-in ND filter to boot.

Autofocus

Canon’s 24MP chip offers depth-aware Dual Pixel phase detection autofocus, a feature we’ve come to know and appreciate in its DSLRs and EOS-M cameras. Sony in turn offers phase detection autofocus with a total of 315 points; both cameras essentially offer autofocus across most of the frame.

We’ve generally found the RX100 V to focus better and faster in continuous drive than most Dual Pixel cameras we’ve tested, impressively even at the RX100 V’s 24 fps top burst rate. They’re both quite capable in single shot mode – Sony’s Eye AF mode is handy, though the G1 X III offers a usability advantage in its touch screen. Each system has its pros and cons, but they’re both way ahead of the contrast-detection systems used by cheaper compacts and many smartphones.

Screen/viewfinder

Great news: either way you go, you’ll have a built-in electronic viewfinder at your disposal, and you should for such a handsome price. But there are significant differences in rear screen specs. Canon gives you a fully articulated 3″ 1.04M-dot touch screen. Sony offers a higher-res 3″ 1.23M-dot tilting-only non-touch screen. For Pete’s sake Sony, put a touch screen in this thousand-dollar compact!

If you’re, say, a vlogger, the Canon’s fully articulating touch screen is clearly going to work better for you. Not everyone needs or wants a touch screen, but it does help you get the most out of a super fast autofocus system.

Video

In terms of sheer video capabilities, the RX100 V comes out way ahead with 4K/30p oversampled from 5K footage, 1080/60p, 1080/120p slow motion, SLog2 for wide dynamic range capture and helpful tools like zebra and focus peaking.

The G1 X III’s mere 1080/60p looks paltry in comparison, but don’t rule it out on that spec alone. Its Dual Pixel/touchscreen combination is incredibly useful for creating smooth shifts in focus or quickly choosing the subject you want the camera to track.

If you’re an advanced videographer and you need all of the bells and whistles, or a casual user that wants highly detailed video (and you’re OK with leaving focus in complete auto mode, where it performs really well) then the RX100 V is for you. But if you’re a novice looking to create good-looking video without much effort, then you should give the G1 X III a good look.

Battery

There’s no real good news here – battery life stinks on both of these cameras. The RX100 V is CIPA-rated to 220 shots per charge; the G1 X III is rated for 200 shots. Actual results are usually better than that, but if you intend to shoot lots of bursts, plan on getting a backup battery too. A fancy compact camera with a dead battery is just a very expensive paperweight.

Form factor

Let’s give credit where credit is due: these cameras are incredible feats of engineering. They each pack cutting edge technology into a body that seems way too small for its spec list. But you can’t cheat the laws of physics: the G1 X III’s much bigger sensor makes for a bigger camera. The RX100 V has “just a 1-inch sensor,” but it’s also truly pocketable. With its chunkier grip, viewfinder and protruding dials, the G1 X III is more of a “honey I shrunk the DSLR” shape and size.

We can offer some guidance around the other points of comparison, but this one’s on you. If small cameras seem too fiddly, you probably won’t like the RX100 V. If you want to slip your camera into a coat pocket when you’re not using it, the G1 X III might be a bit too big.

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Canon patents a huge, hinged and reversible DSLR LCD

22 Oct

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A newly published Canon Japan patent might reveal the future of Canon DSLR LCD screens… and that future is massive and flippable. Originally spotted by Canon Rumors, the patent details a hinged rear LCD that is so big it hides all of the controls on the back of the camera underneath it.

As you can see from the diagrams (or read in the patent itself) the LCD is capable of lifting upward, then reversing, and is specifically designed to avoid obstructing the camera’s viewfinder. This makes it possible to view an image from the uplifted LCD and use the viewfinder during the same session.

While a hinged DSLR rear display is nothing new, Canon’s patent shows a design that would allow for a large and reversible display unlike anything we’ve seen before. In fact, the LCD shown in the patent’s illustrations covers the entire back of the camera, making it necessary to tuck the rear dial and several buttons behind it, though several others are exposed on either side of the viewfinder.

As with every patent, there’s no indication of whether or not Canon has plans to incorporate this design into an upcoming camera, but it’s one of the more curious Canon patents we’ve run across.

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Canon hit two milestones today: 90 million cameras and 130 million lenses

18 Oct

Canon has hit two couple major production milestones today. Specifically, Canon says it has now produced 130 million EF-series interchangeable lenses and 90 million EOS cameras. And in case you’re curious, the camera maker revealed that an EOS 5D Mark IV was its 90 millionth EOS camera to go through production, while the 130 millionth interchangeable lens distinction goes to an EF 16-35mm f/2.8L III USM.

Both the EOS and EF series made their debut in March 1987, eventually picking up production speed in the early 2000s as DSLRs became more popular.

The company boasts a 14-year consecutive No. 1 share of the global interchangeable lens digital camera market, as well as the distinction of being first to bring certain features to the market with its EF lenses, including image stabilizer tech and an ultrasonic motor. Canon’s EOS Series also has some notable distinctions in its past, including being the first to offer an electronic lens mounting system and fully digitized communication between the lens and camera body.

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Meet the Canon PowerShot G1 X III

17 Oct

The Canon G1 X Mark III is what would happen if someone crammed a Canon 80D or M5 into a Powershot G5 X body, which is pretty cool. The body is impressively small and light weight, given its large sensor and useful 24-70mm equiv. zoom range, even if the F2.8-5.6 aperture is a tad slow. We’re excited to get it in and get shooting, but for now, here’s a look into some of its main features and specs.

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