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Keep tabs on your Canon’s shutter count (and more) with EOS Inspector 2

24 Jul

Amazingly, there’s no built-in method to finding out how many shutter actuations your Canon DSLR has amassed. Thankfully though, there are third-party solutions to help get the job done.

One such solution is the recently-updated EOS Inspector 2, a MacOS app that’s improved upon the original version of EOS Inspector, which itself was a successor to the original ShutterCount app — all of which are created by independent Russian developer Konstantin Pavlikhin.

EOS Inspector 2 details the shutter actuations of 65 Canon cameras — a list of which you can find here — including Live View shots with supported cameras. The app also details the serial number, batter charge level, remaining shots estimate, and the installed firmware version.

To help you gauge how much longer you can expect your camera’s shutter to function, EOS Inspector 2 also shows the expected shutter life for your camera. It’s also possible to change the metadata fields the camera applies to images, including owners name, author, and copyright.

EOS Inspector 2 is currently available in the Mac App Store for an introductory price of $ 2.99. If you’re upgrading from the original EOS Inspector app, the update is free.

Articles: Digital Photography Review (dpreview.com)

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Video: The story behind Canon’s crazy 50-1000mm CINE-SERVO lens

06 Apr

This short video released by Canon USA just a couple of days ago tells the story behind one of Canon’s most impressive optical achievements: the $ 78,000 Canon CINE-SERVO 50-1000mm T5.0-8.9 CN20x 50 IAS H/P1 lens introduced in 2014. We don’t cover much broadcast equipment here on DPReview, but even we couldn’t help taking note of this impressive lens when it was first announced.

As Canon USA Senior Fellow Larry Thorpe explains in the video, this lens was the result of a challenge posed to Canon by wildlife filmmaker Ivo Nörenberg in 2010. Nörenberg asked Canon to produce a long zoom 4K Super 35mm lens that would allow him to capture a seemingly impossible zoom range.

Zoomed all the way in, Nörenberg needed this lens to be able to “fully frame a subject of 4-5 feet (1.2-1.5 meters) in height from a distance of 300-350 feet.” Then, without changing lenses, he wanted to zoom back out and capture “great outdoor vistas.” And as if that’s not difficult enough, Nörenberg also asked Canon to keep the lens size manageable: no more than 15lbs (~6.8Kg) and no longer than 16 inches (~40cm).

It took four years, but this is what Canon came up with:

Credit: Canon

It wasn’t easy. Thorpe calls this lens “the most challenging project ever undertaken by the Canon optical design team.” But in the end, Nörenberg says Canon delivered 100% of his specifications and ideas. Not only that, Canon also built a 1.5x teleconverter right into the lens, giving the CINE-SERVO lens an extended range of 50-1500mm.

Check out the full video above to hear the story from Thorpe and see the lens in action capturing footage of wolves in arctic Canada, only 1,000Km (~620 miles) away from the North Pole.

Articles: Digital Photography Review (dpreview.com)

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Quick look: Canon’s new compressed Raw format

03 Apr

Canon’s new entry-level EOS M50 is also the first Canon camera to come with the new Digic 8 processor, allowing it to capture smaller C-Raw files in the new CR3 format.

The EOS M50 may be aimed at beginning photographers, but its all-new Digic 8 processor makes it Canon’s first camera to use the CR3 Raw file format. Older Canons that used the CR2 file format could capture either losslessly compressed Raw files or ‘medium’ and ‘small’ equivalents, both saving you disk space, the latter at the expense of reducing resolution.

However, if you enable the compact ‘C-Raw’ option on the M50, the files will be 30-40% smaller than their losslessly compressed equivalents without any reduction in resolution. But are there any other image quality penalties to pay? Let’s take a look.

Click here to download the original Raw files for all of the below comparisons.

Base ISO


Uncompressed Raw	Compressed Raw

Click through for full size
ISO 100 | 1/40 sec | F5.6 | Canon EF 50mm F1.4

The above images were shot and processed using our standard studio testing procedure. Do you see any differences? We couldn’t find any – but we decided to see if boosting the ISO value and using our low-light scene would turn anything else up, particularly in terms of shadow noise.

High ISO


Uncompressed Raw	Compressed Raw

Click through for full size
ISO 12800 | 1/40 sec | F5.6 | Canon EF 50mm F1.4

Now that we’ve switched to our low light setup and boosted the ISO by seven stops, the images still appear all but identical, even in terms of noise levels. So far, it looks like it’s best for you to go ahead and switch into C-Raw and save yourself some disk space.

But when we put the EOS M50 through our standard exposure latitude test, we did find some evidence of what sort of processing is happening in Canon’s C-Raw files.

Pushed shadows


Uncompressed Raw	Compressed Raw

Image pushed four stops in Adobe Camera Raw

Our exposure latitude test involves exposing our studio scene with increasingly lower exposures, and then pushing them back to the correct brightness in Adobe Camera Raw. With many older sensors, you would see an abundance of noise being added by the camera, but today’s sensors output files that are much more tolerant to this sort of manipulation.

Basically, after pushing the files, we look into the shadow regions to assess the exposure latitude (essentially the dynamic range) of the Raw files. And it’s after underexposing the EOS M50 by four stops and then re-brightening, we start to see some clearer differences between the regular Raw files and their C-Raw equivalents.

The resulting pattern can be more difficult to remove or reduce than normal noise patterns, and is reminiscent of artifacts left behind from noise reduction algorithms that we’ve seen in the past.

At this time, we’re optimistic that users of Canon’s new Raw format can shoot in C-Raw without a noticeable impact on image quality.

But after all, this is a four-stop push. Depending on your shooting, this may indicate a slight dynamic range disadvantage to using C-Raw, but it’s likely to remain an edge case for most users. And so we’ve decided to finish off with a more informal test in a more common situation. We wanted to see if processing out the two different Raw files would turn up different results for the gradient in a blue sky.

Blue skies and takeaways


Uncompressed Raw	Compressed Raw

Click through for full size
ISO 100 | 1/640 sec | F8 | Canon EF-M 15-45mm F3.5-5.6

Smooth gradients can often trip up compression algorithms, particularly in many cameras’ JPEG engines, so we wanted to see if there was any noticeable difference when the EOS M50 compresses its Raw files. As with our un-pushed studio images, it’s again impossible to tell which is the normal Raw file, and which is the C-Raw file. So what does this all mean?

Of course, we still have plenty of tests to run on the EOS M50, but at this time we’re optimistic that users of Canon’s new Raw format can safely shoot in C-Raw and save themselves valuable memory card and disk space without noticeable impact on image quality.

Note that all of the above images of our studio scene were processed in an identical manner to images in our studio scene widget, meaning there was no sharpening nor noise reduction added. Adjustments for the blue sky scene were limited to highlights, shadows, whites and blacks in Adobe Camera Raw, and sharpening and noise reduction were left to default levels.

Click here to download the original Raw files for all of the below comparisons, and to see how the EOS M50’s uncompressed Raw files compare to its peers, check it out in our studio test scene.

Articles: Digital Photography Review (dpreview.com)

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RIP Canon’s Chuck Westfall, 1952-2018

20 Mar

Chuck Westfall, pictured in front of our studio test scene on a visit to DPReview to show us the EOS 7D Mark II, in 2014.

We were sad to learn that Chuck Westfall, 35-year veteran of Canon USA and friend of the site, passed away last week. At the time of his death he held the position of Product Planning Advisor for Canon’s Imaging Technology & Communications Group.

After DPReview moved to Seattle in 2010, Chuck became our primary point of contact for technical questions and product briefings on high-end products in the USA. His pride in Canon’s portfolio of cameras and lenses and his very genuine love of photography was undimmed, even after more than 30 years at the company. During this time he played a key role in the development of countless flagship products, both film and digital.

A legendary figure within our industry, probably the nearest Chuck ever came to being a household name was as a result of the briefly-famous ‘fake Chuck Westfall’ blog of the late 2000s – which could not have been further from the character of the man himself. The real Chuck Westfall was polite, reserved and unfailingly professional.

While we didn’t work with him for as long as some of our US-based peers (we’d recommend reading Dave Etchells’ heartfelt tribute at Imaging Resource) all of us at DPReview have benefited from Chuck’s expertise in one way or another. He didn’t talk about his illness and it didn’t stop him working; he was a welcome presence at product briefings and trade-shows until relatively recently, and he will be greatly missed by everyone here at DPReview.

Remembering Chuck Westfall

Barnaby Britton, Senior Editor

The first time I came across Chuck Westfall was in 2000 or 2001, when researching the purchase of my first professional SLR. Being a student, I couldn’t afford the then-current EOS-1V, so I had my eye on a (much) used EOS-1. I sent off for archived magazine camera reviews from the late 1980s and 90s (remember when you could still do that?) and spent hours searching around in obscure corners of the Internet for any information about that long-discontinued model.

During the course of my research I dug up an incredibly detailed technical paper on the EOS-1’s flash metering and autofocus systems. In terms of informational content, it was far more informative than any review I’d been able to find, while still being readable. The author was Chuck Westfall.

Although it was years before we met in person, the way that paper was written said a lot about Chuck as a person.

Chuck Westfall, pictured with photographer Adam Jones during the filming of DPReview’s first long-form ‘field test’ video, featuring the EOS 7D Mark II, in late 2014. I took along an original EOS D30 as a conversation piece, and to shoot behind-the-scenes images.

During my time with DPReview I have met and spoken to Chuck on countless occasions about Canon’s latest digital cameras. In late 2014 I spent a few days with him in Montana, during the filming of a long-form video that featured the then-new EOS 7D Mark II. I had limited access to the camera before the shoot, and his help was invaluable when it came to navigating the camera’s menu systems and custom options, while (equally as important) speaking coherently about them on-camera. I took my treasured EOS D30 along to shoot some behind the scenes images of the production, and I peppered Chuck with questions about his memories of the early days of digital imaging at Canon – a hugely important period when it seemed like new technologies were being unveiled almost every week.

For as long as I knew him professionally, I never stopped asking him Chuck about the cameras I used to aspire to owning when I was still a kid. Cameras like the T90, the EOS-1, the D30 and Canon’s first-generation professional DSLRs. I’ll miss those tangents, which invariably came in the middle of what should have been an interview or a briefing about some or other new Canon camera or lens.

Chuck was a key figure at Canon during one of the most important periods in the company’s history, and his breadth of experience was just one of the reasons he was so valuable both to Canon, and to the journalists and analysts that he worked with. If you’ve shot with a Canon camera at any point in the last 30 or so years, the chances are that you’ve benefited from his expertise. We’ll miss him.

Please note that comments have been enabled on this article to enable our readers to share their memories of Chuck. Please be respectful.

Articles: Digital Photography Review (dpreview.com)

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PowerShot Shootout: Canon’s G1 X III vs G7 X II

27 Jan

G1 X III versus G7 X II shootout

Introduction

In our review of the Canon PowerShot G1 X Mark III, we made some pretty bold claims. Namely, that the lens on the G1 X III makes such a compromise in terms of maximum aperture in an effort to keep the size of the camera down, that much of the theoretical advantage of the large APS-C sensor is basically moot.

Specifically, the lenses on cameras with smaller 1″-type sensors are so much faster in some cases that they have the potential to offer both better control over depth of field, as well as better noise performance in low light. The specs do tell us, though, that the G1 X III should offer better dynamic range at base ISO.

LensEquivalentApertures([“Equivalent focal length (mm)”,”Canon G7 X II”,”Canon G1 X III”], [[24,4.90909090909091,”Canon G7 X II at 24mm: F4.9″,4.5170606663860564,”Canon G1 X III at 24mm: F4.5″],[26,null,””,5.1623550472983508,”Canon G1 X III at 26mm: F5.2″],[29,null,””,5.646325832982571,”Canon G1 X III at 29mm: F5.6″],[32,6.0000000000000009,”Canon G7 X II at 32mm: F6.0″,6.4529438091229379,”Canon G1 X III at 32mm: F6.5″],[37,null,””,7.2595617852633048,”Canon G1 X III at 37mm: F7.3″],[39,6.8181818181818183,”Canon G7 X II at 39mm: F6.8″,null,””],[45,null,””,8.0661797614036725,”Canon G1 X III at 45mm: F8.1″],[54,7.6363636363636367,”Canon G7 X II at 54mm: F7.6″,null,””],[57,null,””,9.0341213327721128,”Canon G1 X III at 57mm: F9.0″],[72,null,””,9.0341213327721128,”Canon G1 X III at 72mm: F9.0″],[100,7.6363636363636367,”Canon G7 X II at 100mm: F7.6″,null,””]], {“isMobile”:false})

At 24mm, the G1 X III has a slight advantage over depth of field control compared to the the G7 X II, but either matches it or falls behind its smaller-sensored sibling elsewhere in the zoom range.

This is a pretty big deal. After all, the G1 X III is Canon’s flagship compact, and is the only camera currently on the market with an APS-C sensor and a zoom lens (it also fits in your pocket). On the other hand, the G7 X II is nearly half the price, is more compact, and its smaller 1″-type sensor is potentially offset by a much faster zoom lens with greater reach.

Of course, this discussion is so far based on specification alone, and those specifications can’t necessarily take into account real-world sensor and lens performance. So, let’s check our theory, and see how these two cameras compare.

Bright landscape

This is the main situation in which you’d expect the G1X III to have an advantage. Assuming comparable sensor performance, we’d expect the G1X III’s larger sensor to have greater dynamic range advantage, tolerating more light before clipping and thus allowing more exposure, which should give slightly cleaner tones throughout the image.


G1 X Mark III ISO 100 F7.1 (F11.5 equiv) 1/320th	G7 X Mark II ISO 125 F4 (F10.9 equiv) 1/1250th

For this scene, we set both cameras on the same tripod, and exposed the scene to just barely clip the highlights of the sun’s reflection on the building at center; though the exposure settings differ, both cameras received roughly the same amount of light at each of their respective base ISO values.

It’s clear to see that in this sort of scene, the G1 X III exhibits less noise in the lifted shadow areas than its smaller-sensored sibling, and there are areas, particularly in the trees, where fine detail is rendered a tad better.

We should note that these sorts of bright daylight scenes (where you’re not light-limited and can use base ISO), are where the G1 X III will really pull ahead of the G7 X II. In scenes with even more contrast than this, the difference will become even more apparent.

Close-range indoors

By 28mm equiv, the graph shows that both cameras sensor/lens combinations are offering the same equivalent focal length and roughly the same equivalent aperture. Which means, in principle, that they should receive the same amount of total light, when shot wide open at the same shutter speed (and whatever ISO is necessary). The only differences should stem from differences in sensor performance and lens characteristics.


G1 X Mark III ISO 500 F3.2 (F5.2 equiv) 1/30th	G7 X Mark II ISO 160 F2 (F5.5 equiv) 1/30th

Click through to see for yourself how each camera renders the background highlights – there is a bit of an ‘onion-ring’ effect from the G7 X II, though the G1 X III image looks just slightly noisier. This is indicative of a slightly less efficient sensor design compared to the backside-illuminated (BSI) unit in the G7 X II.

Low light, casual portrait

This sort of situation is usually where people expect to see the benefits of a larger sensor, but this is only true if you can give it enough light. Here’s a shot from the long end of the G1X III’s lens in a situation where you’d need to shoot wide-open. As can be seen from the graph at the top of the page, the G7 X II has a wider equivalent aperture at this point. Let’s see what that means.


G1 X Mark III ISO 12,800 F5.6 (F9.3 equiv) 1/60th	G7 X Mark II ISO 5000 F2.8 (F7.6 equiv) 1/60th

Both cameras were zoomed to ~72mm, and I kept my shutter speed at 1/60 sec to account for any slight subject movement. Because the G1 X III’s lens only opens to F5.6 at its maximum zoom, the ISO value hit the maximum value I’d chosen of 12800, while the G7 X II, at F2.8, called for an ISO value of 5000.

After checking the difference in exposure value for both cameras, the G1 X III required an additional 0.64 EV boost in Adobe Camera Raw, which is effectively like shooting at ISO 20000. So in this situation, the G7 X II’s image is cleaner and offers slightly blurrier out-of-focus highlights in the background. Overall, the advantage of the larger sensor is essentially canceled out by the slower lens.

Maximum zoom portrait

So that’s how the two cameras compare within the range that both lenses cover. But now, let’s look at how the G7 X II at 100mm of equivalent reach compares to the G1 X III at its maximum of 72mm.


G1 X Mark III ISO 400 F5.6 (F9.3 equiv) 1/125th	G7 X Mark II ISO 125 F2.8 (F7.6 equiv) 1/125th

Here, you can see just how much of a difference the extra reach on the G7 X II’s lens can make. Both images were taken from the same location moments apart, with each lens shot wide open.

To us, this really exemplifies that, though the 24-72mm focal range of the G1 X III is indeed quite versatile, the extra zoom range on the G7 X II can really be a big advantage for those looking for a small camera for casual portraiture. Of course, if you’re into artificial lighting, the G1 X III’s hot-shoe will allow you far more creative options than the G7 X II, which has a built-in flash and no other flash synchronization options.

Takeaways

This comparison is, of course, purposely limited to the image quality impact of the lenses and sensors on these two cameras. There’s a lot of other features that separate the G1 X III and G7 X II, including that the former offers better dynamic range, weather sealing, an electronic viewfinder, a flash hot shoe, a fully articulating screen, and Dual Pixel AF (and, disappointingly, Canon hasn’t updated its G5 X model, which would have been a closer match to the G7 X II in the first place).

If all those other aspects of the G1 X III are worth the price premium to you, by all means, pick up a G1 X III. It’s a lovely camera, with excellent handling and is capable of great image quality under a wide variety of scenarios.

Here comes the ‘but’ though… if you’re looking for (in our opinion) a better value, or you’re looking for an even smaller camera, or you shoot in low or marginal light more often than bright daylight, the G7 X II is almost certain to be a better fit, at a cheaper price. And this is why we just weren’t blown away by the G1 X III in our review; you greatly reduce the benefits of such a large and expensive sensor if you restrict its access to light to squeeze it into such a compact body.

But what about you? Have you used one or both of these cameras? Let us know what you think of our comparisons in the comments.

Articles: Digital Photography Review (dpreview.com)

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Canon’s PowerShot G1 X Mark III is a 24MP APS-C compact with DSLR-like autofocus

16 Oct

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Canon has introduced the PowerShot G1 X Mark III – the third and latest model in its premium G1 X-series. The G1 X Mark III borrows its 24MP APS-C sensor, Dual Pixel AF system and DIGIC 7 processor from Canon’s ILCs, such as the EOS 77D and EOS M5, but adds a fixed 24-72mm equivalent F2.8-5.6 zoom and combines them into a relatively compact body weighing just 400g/14oz. In other words, you’re essentially getting a fixed-lens version of the EOS M5 that fits in the palm of your hand.

We’re already familiar with the sensor and the Dual Pixel AF system and as such, we’re hoping for good results from both. The lens has nine elements, three of which are double-sided aspherical, a built-in three-stop neutral density filter and image stabilization with up to four stops of shake reduction.

The Mark III can shoot continuous bursts at up to 9 fps with AF/AE locked on the first shot or 7 fps with continuous AF. The buffer fills up after around 19 Raw or 24 JPEGs, depending on which mode you’re using. Battery life is disappointing, with a CIPA rating of only 200 shots per charge (which assumes you’re using the flash 50% of the time). So, while you’ll usually get more than this number from the camera, you’re still likely to appreciate a second battery or get used to constantly worrying about where your next top-up is coming from.

The Mark III moves away from the blocky design of its predecessors, and now looks nearly identical to its baby brother the PowerShot G5 X, which uses a much smaller 1″-type sensor. The G1 X III has an SLR-style design, featuring dials on the front and back, a built-in flash, an OLED viewfinder and fully articulating LCD. Canon says that the shutter release has been designed in such a way to make it feel similar to a DSLR. The body is sealed against dust and moisture.

Other features include 1080/60p and time-lapse video capture, Wi-Fi with NFC and Bluetooth, and (long overdue in our opinion) a Panoramic Shot Mode.

The PowerShot G1 X Mark III is set to ship in November at $ 1299. Optional accessories include a dedicated lens hood ($ 59), underwater housing ($ 499) and leather case ($ 99).

CANON ANNOUNCES THE NEXT EVOLUTION OF ITS POPULAR G-SERIES CAMERA – THE POWERSHOT G1 X Mark III

The New Flagship G1 X Mark III PowerShot Camera Features the Largest Imaging Sensor Ever in a Canon Point-and-Shoot Camera

MELVILLE, N.Y., October 16, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced a new flagship addition to its acclaimed G-series of premium compact cameras, the Canon PowerShot G1 X Mark III. Lightweight and portable without sacrificing the very best in Canon digital imaging technologies, the new G-series flagship features a 24.3- megapixel* APS-C CMOS sensor and Canon’s revolutionary Dual Pixel CMOS AF (Auto-Focus) technology, both firsts for a Canon point-and shoot compact camera offering.

“As we continue to evolve the popular Canon PowerShot G-series line, we remain committed to incorporating both our latest innovations and the features photographers are looking for in an advanced, compact camera,” said Yuichi Ishizuka, president and COO, Canon U.S.A. “With the new PowerShot G1 X Mark III, users will appreciate the quality and overall performance made possible using a APS-C sensor, alongside upgraded capabilities that can enable the capture of amazing photo and video, even in lowlight conditions.”

Ultimate in Compact Image Quality

The new Canon PowerShot G1 X Mark III offers dramatic improvements from the series’ previous flagship, the PowerShot G1X Mark II, headlined by a larger, 24.3-megapixel APS-C CMOS sensor, resulting in fantastic image quality in both stills and video. This dramatic sensor upgrade pairs with a wide-angle 24-72mm** (3x zoom) lens with Optical Image Stabilization featuring a wide f/2.8-5.6 aperture to allow for maximum brightness and increased sharpness in images and an ISO range of 100-25,600. This provides users with the versatility to shoot in low-light scenarios like a dimly lit restaurant which can frame subjects with beautiful background blur.

Technology commonly found in Canon DSLRs and advanced cameras has now arrived for the first time in the PowerShot G-series, as the G1X Mark III will feature Canon’s acclaimed Dual Pixel CMOS AF system. This feature, popular amongst enthusiast and professional users, provides extremely fast and smooth autofocus capabilities across nearly the entire focal plane, allowing for more creative compositions when framing a subject away from the center of a shot.

Versatile and Intuitive Operation

Dust and water resistant, the Canon PowerShot G1 X Mark III is a compact and powerful imaging companion ready for a variety of challenging shooting scenarios. Designed for enthusiast and professional users, it offers a host of useful features to help inspire creativity and improve operability. These include:

• 2.36 million dot Organic LED Electronic Viewfinder provides customization options to match nearly any shooting style or scene
• Touch & Drag AF allows for intuitive operation linking the Electronic Viewfinder and touch panel monitor to quickly adjust focus targeting without looking away from the viewfinder, or using Smooth Zone AF to effortlessly track subjects with the touch of a finger.
• 3.0 inch Vari-angle Touch LCD Monitor helps capture the perfect shot from a variety of challenging angles, including overhead or low-angle shooting.
• The G1 X Mark III is capable of fast continuous shooting up to approximately 7 frames per second (fps), or up to 9fps with AF fixed – working easily with Dual Pixel CMOS AF to track even the most fleeting of subjects with ease.
• A New Shutter Release function offers a sophisticated sense of operation, similar to high-end EOS models, providing a comfortable hold during continuous shooting

Canon Technologies Worthy of a Flagship

With technology ranging from HD video capabilities to the latest in connectivity features, the G1 X Mark III is versatile enough to achieve high-level performance on the go. Additional features include:
• Instantly connect to a smart device* via built-in Wi-Fi***, NFC^ or Bluetooth^^ to facilitate easy sharing with friends and family or utilize the Camera Connect app to shoot remotely.
• Panoramic Shot Mode functionality allows users to easily capture panoramic photos, simply be swinging the camera while shooting either vertically or horizontally.
• Capture Full HD 1080/60p Video with high ISO speed shooting and smooth accurate focus when used alongside Canon’s Dual Pixel AF technology, while 5-axis movie IS helps reduce the effect of camera shake when shooting handheld
• Easily capture picturesque Time-Lapse Movies with intuitive settings that help determine intervals and exposure

The Canon PowerShot G1 X Mark III is scheduled to be available in November 2017 for an estimated retail price of $ 1299.00¹. In addition the Canon Lens Hood LH-DC110, Waterproof Case WP-DC56 and Deluxe Leather Case PSC-6300 for the PowerShot G1 X Mark III will be available for an estimated retail price of $ 59.99, $ 499.99 and $ 99.99 respectively ¹. For more information please visit usa.canon.com.

*Image processing may cause a decrease in the number of pixels.

** 35mm film equivalent.

***Compatible with iOS® versions 9.3/10.3, Android™ smartphone and tablet versions 4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

^ Compatible with Android™ smartphone and tablet versions 4.4/5.0/5.1/6.0/7.0/7.1.

^^ Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect.

^¹Availability, prices and specifications subject to change without notice. Actual prices are set be individual dealers and may vary.

Canon PowerShot G1 X Mark III specifications

Price
MSRP	$ 1299
Body type
Body type	Large sensor compact
Body material	Magnesium alloy
Sensor
Max resolution	6000 x 4000
Image ratio w:h	3:2
Effective pixels	24 megapixels
Sensor photo detectors	26 megapixels
Sensor size	APS-C (22.3 x 14.9 mm)
Sensor type	CMOS
Processor	DIGIC 7
Color space	sRGB, Adobe RGB
Color filter array	Primary Color Filter
Image
ISO	Auto, 100-25600
White balance presets	7
Custom white balance	Yes
Image stabilization	Optical
CIPA image stabilization rating	4 stop(s)
Uncompressed format	RAW
JPEG quality levels	Fine, normal
File format	JPEG (Exif v2.3) Raw (Canon 14-bit CR2)
Optics & Focus
Focal length (equiv.)	24–72 mm
Optical zoom	3×
Maximum aperture	F2.8–5.6
Autofocus	Contrast Detect (sensor) Phase Detect Multi-area Center Selective single-point Tracking Single Continuous Touch Face Detection Live View
Autofocus assist lamp	Yes
Digital zoom	Yes (4x)
Manual focus	Yes
Normal focus range	10 cm (3.94″)
Macro focus range	10 cm (3.94″)
Number of focus points	49
Screen / viewfinder
Articulated LCD	Fully articulated
Screen size	3″
Screen dots	1,040,000
Touch screen	Yes
Screen type	TFT LCD
Live view	Yes
Viewfinder type	Electronic
Viewfinder coverage	100%
Viewfinder resolution	2,360,000
Photography features
Minimum shutter speed	30 sec
Maximum shutter speed	1/2000 sec
Exposure modes	Program Shutter priority Aperture priority Manual
Built-in flash	Yes
Flash range	9.00 m (at Auto ISO)
External flash	Yes (via hot shoe)
Flash modes	Auto, on, sl0w synchro, off
Flash X sync speed	1/2000 sec
Drive modes	Single Continuous Self-timer Remote
Continuous drive	9.0 fps
Self-timer	Yes (2 or 10 secs, custom)
Metering modes	Multi Center-weighted Spot
Exposure compensation	±3
AE Bracketing	±3 (3 frames at 1/3 EV, 1/2 EV, 2/3 EV, 1 EV, 2 EV steps)
Videography features
Format	MPEG-4, H.264
Modes	1920 x 1080 @ 60p / 35 Mbps, MP4, H.264, AAC 1920 x 1080 @ 30p / 24 Mbps, MP4, H.264, AAC 1920 x 1080 @ 23.98p / 24 Mbps, MP4, H.264, AAC 1280 x 720 @ 30p / 8 Mbps, MP4, H.264, AAC
Microphone	Stereo
Speaker	Mono
Storage
Storage types	SD/SDHC/SDXC card (UHS-I supported)
Connectivity
USB	USB 2.0 (480 Mbit/sec)
USB charging	Yes
HDMI	Yes (micro HDMI)
Microphone port	No
Headphone port	No
Wireless	Built-In
Wireless notes	802.11b/g/n + NFC + Bluetooth
Remote control	Yes (wired or smartphone)
Physical
Environmentally sealed	Yes
Battery	Built-in
Battery description	NB-13L lithium-ion battery & charger
Battery Life (CIPA)	200
Weight (inc. batteries)	399 g (0.88 lb / 14.07 oz)
Dimensions	115 x 78 x 51 mm (4.53 x 3.07 x 2.01″)
Other features
Orientation sensor	Yes
Timelapse recording	Yes
GPS	None

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The Vertical ELPH: remembering Canon’s PowerShot TX1 hybrid camera

28 Jul

Buried among the February 2007 announcements of Canon’s PowerShot SD750 and SD1000 Digital ELPHs^*, and the A560 and A570 IS was the PowerShot TX1. It took the main features of camcorders at the time, namely the vertical design, rotating display and long-ish lens and put them into a stylish body about the same size as your average Digital ELPH. Add in 720/30p video and it quickly became obvious that the TX1 was created to bridge the worlds of photo and video shooting.

* The SD750 was known as the IXUS 75 while the SD1000 was the IXUS 70 outside of North America.

Behind that metal door was an F3.5-5.6, 39-390mm equivalent lens.

The PowerShot TX1 was based around a 1/2.5″, 7.1MP CCD, which was paired with Canon’s DIGIC III processor. While the F3.5-5.6, 10X zoom lens was quite long for that day, it had a focal range of 39-390mm equivalent, so wide-angle work was out. The lens featured Canon’s excellent image stabilization system – a necessity when capturing video at long focal lengths. Keeping with the stylish look of the ELPH/IXUS lineup, the TX1’s lens hid itself behind a door when powered off.

The 1.8″, 114k-dot LCD could rotate a total of 270 degrees, fitting in perfectly with the TX1’s camcorder-like design.

Canon had to cram a lot of buttons into a small area on the diminutive TX1. The result was a camera with pretty lousy ergonomics. DPReview’s Simon Joinson sums up the TX1’s ergonomic issues nicely in this paragraph:

‘Sexy looks aside, in use the design is nothing short of a disaster, and has the unique ability to make you feel like you have too many fingers on your right hand. Once you’ve mastered not blocking the lens the challenge is to take a picture without jolting the camera, change settings without dropping it, or use it to take a vertically orientated picture at all. It’s better if you use two hands, but not a lot.’

Ouch. Something that came along with the small body was a small battery. The TX1’s CIPA rating of 160 shots per charge was probably the worst I’ve seen in almost 20 years of reviewing cameras.

The TX1 took SD and MMC cards, and you needed a big one to store more than a few minutes of video.

Ergonomics and battery life aside, the PowerShot TX1 took pretty nice photos. Its resolution was competitive with other 7MP cameras, distortion was relatively mild and its noise levels weren’t too bad at ISO 400 (going much higher than that on a compact was a bad idea). As with most compacts, the TX1 had some image quality shortcomings: clipped highlights, purple fringing and redeye were all problems, though the latter could be fixed in-camera.

For those hoping that the TX1 would be a camcorder replacement, it wasn’t. Its 1080/30p video is noticeably softer than what you’d get from an HD camcorder and the use of the Motion JPEG codec meant that each second of video took up 4.5MB on your memory card.

Photo courtesy of DCResource.com

The TX1 didn’t have an HDMI port (but what camera did then?) so if you wanted to hook into a nicer TV, it took a lot of cables. On the right in the photo above are component video cables, which take up one port on the camera. Naturally, you’d want to listen to the high quality stereo sound recorded by the TX1, which required a second cable: the composite one you see above-left. It ended up being quite the rat’s nest.

In the end, the Canon PowerShot TX1 generated a lengthy list of pros and cons and was the recipient of DPReview’s ‘Recommended (but only just)’ award.

Read our PowerShot TX1 Review

Sample Gallery

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Did you actually have a PowerShot TX1 and want to share your memories? Leave ’em in the comments section below! As always, suggestions for future Throwback Thursdays can be left there, as well.

Articles: Digital Photography Review (dpreview.com)

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Behind the scenes at Canon’s new Burbank Technology and Support Center

24 Jul

Behind the scenes: Canon Burbank

A few days ago, Canon officially opened its newest Professional Technology and Support Center in Burbank, California, and DPReview was part of a select group of media invited to tour the facility prior to the grand opening.

‘Canon Burbank’ is primarily focused on meeting the needs of filmmakers and the Hollywood film production industry, and includes post-production facilities that could be used to produce a blockbuster film. However, as I discovered during my visit, Canon wants this space to attract more than just the filmmaking elite.

Behind the scenes: Canon Burbank

According to Elliot Peck, Canon Imaging and Technologies’ Executive Vice President, the project to build this new center started about a year ago when Canon realized that it was effectively out of space at its old Hollywood location. Canon designed a completely new facility from the ground up and took the opportunity to move to Burbank, at the heart of the filmmaking industry.

Although it’s officially called a ‘Technology Support and Service Center,’ the description I kept hearing from many staff was ‘Integration Center.’ Canon recognizes that it’s still relatively new to the cinema market, and almost every part of this facility is designed to show how seamlessly Canon products can integrate into an existing production workflow.

Behind the scenes: Canon Burbank

While there’s a natural focus on Hollywood, Tim Smith, Canon’s Senior Advisor for Film and TV Production, told me that he wants all types of content creators to utilize this facility, particularly people like emerging filmmakers, some of whom may even be using equipment like DSLRs, and who aren’t on Hollywood’s radar yet.

“That was us six years ago,” he said, drawing a parallel to Canon’s own rise in the motion picture business. “In a sense, we’ve spent the last several years figuring out how to go from DSLRs to cinema. This facility is the culmination of all of that work.”

Smith says he wants people early in their careers, who have the desire but not the established name, to come to the facility to network and learn. Canon plans to do seminars and classes for filmmakers at all levels, including topics such as writing or lighting that don’t have a direct relationship to Canon products. Best of all, most of these classes will be free.This article offers free shipping on qualified Face mask products, or buy online and pick up in store today at Medical Department

Behind the scenes: Canon Burbank

The new service facility has double the space of Canon’s former Hollywood location, as well as an improved workflow for processing repairs. Canon’s goal is to achieve a one-day turnaround time for customers.

While the service center will see a lot of motion picture products given its location, it provides full support for all Canon camera products, including Cinema EOS, EOS DSLRs, EF and EF-S lenses, and EOS cinema lenses. In addition to repairs, the center has loan equipment available for CPS members.

(If you happen to live in Southern California, the center is open for walk-in visits from 9-5 Monday-Friday.)

Behind the scenes: Canon Burbank

Part of the service facility is the lens room, where technicians can test and verify lens performance after repair. The room might be better described as a very wide hallway, stretching about 65 ft. (20m) in length. The extra distance allows technicians to mount lenses up to 600mm on a master body to check for optical alignment and resolution, meaning that all but a couple very specialized Canon lenses can be tested here.

Behind the scenes: Canon Burbank

The broadcast TV projection room is designed to test 4K cinema lenses, which need to deliver sharp performance from corner to corner at every aperture and focal length. Appropriately, the design of this room is all about precision.

Although you can’t see it in the dark, the testing hardware is mounted on a rail system that is precisely aligned to the projection wall. In fact, Canon told us that its engineers, along with the construction firm, spent over a week just building the projection wall to ensure that it was perfectly vertical and without imperfections.

Targets projected through a lens allow technicians to celebrate for sharpness, color, flare, and uneven focus. The target in this photo is a generic pattern to demonstrate the equipment; Canon assures us that it has proprietary targets that are used when calibrating lenses.

Behind the scenes: Canon Burbank

At first glance, what Canon refers to as the ‘workflow area’ appears to be a standard editing suite, but the main purpose of this room is to to help filmmakers figure out how to integrate Canon cameras and lenses into their production workflows.

Canon acknowledges that filmmakers can be a finicky group of people who like to do things their own way. That poses a challenge for a company that’s still somewhat new to the cinema market. Canon created the workflow area so that filmmakers could test their full post-production workflow, using their tools of choice, while introducing Canon cameras and lenses into the mix.

Behind the scenes: Canon Burbank

Whatever a filmmaker’s post-production workflow looks like, chances are pretty good they can replicate it here. The facility supports all major editing suites (Avid, DaVinci, Adobe, and Apple), and even includes both Mac and Windows systems so visitors can work on whatever system is most comfortable for them.

There are also three reference displays for use while editing and grading: a 30-inch Canon DP-V3010 4K reference display and a 24-inch Canon DP-V2420 1000NIT HDR reference display (both of which cost around $ 30K), and also a ‘consumer confidence’ display that’s representative of what would be found in a nice home theater. This gives a colorist a rough idea of what the image will look like on a consumer device.

Behind the scenes: Canon Burbank

The prep room is a facility where cameras can be mounted and fully rigged for production, making it possible to design and test a setup before taking it into the field. Both podiums are wired into the rest of the building so that camera output can be instantly analyzed somewhere else, like the workflow area or the 4K screening room.

Canon wants cinematographers and 1st ACs (1st assistant camera operators) to come in and experiment with their Canon equipment, configure it the way they would for a production, to see how it performs and verify that it meets their needs. Additionally, Canon plans to use this space for other purposes, such as education. For example, it could offer classes for new ACs on how to rig a camera for a shoot.

Behind the scenes: Canon Burbank

Going one step further, Canon invites filmmakers to bring in its competitors’ cameras to set up side-by-side with its own cameras for comparative testing. According to Smith, “We want to go head to head, with whoever we need to go up against, to convince filmmakers that we have the right product for their project.”

Behind the scenes: Canon Burbank

The 4K screening room is just what it sounds like. At its heart is a Barco DP4K-P 4K projector, the same projector used by post production facilities such as technicolor. Canon wants filmmakers to have confidence that any work they do in the facility will be up to Hollywood standards.

There are a few seats up front, but most of the action takes place in back where there’s a full edit suite, including 7.1 surround sound and a 2000NIT display for doing HDR grades.

Behind the scenes: Canon Burbank

In my conversation with Tim Smith, he expressed a strong desire for Canon Burbank to be much more than just a technology and service center. He wants it to be a location where people in the filmmaking community, from DSLR shooters to Hollywood pros, can come together to meet and network.

“In this industry you have to network to find a job,” he says. “Even if you’re the best in the world, you need to network. The more circles you build, the better. One of our visions for this facility is for a cinematographer to use our space to pitch a film to a producer, who then decides to move forward with the project.”

Photo courtesy of Canon

Behind the scenes: Canon Burbank

It’s clear that Canon wants its Burbank facility to be a resource for everyone from beginners to Hollywood pros, and I sensed a genuine desire to engage with and support the filmmaking community.

For all its history, Canon is still the new kid on the block in the cinema business, but the company is confident in its products and isn’t afraid to go head to head with the established players. However, to paraphrase Tim Smith, Canon needs to build circles and create its own networks within this community to be successful long term. Canon Burbank certainly seems to be a step in that direction.

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Canon’s new imagePROGRAF PRO-6000 printer can make 60-inch prints

22 Jul

Canon has announced the upcoming launch of its new imagePROGRAF PRO-6000 inkjet printer for fine art photographers and digital artists. The PRO-6000 is capable of printing anywhere from 17in/43cm to 60in/152cm fine art prints, according to Canon, making it the largest 12-ink printer currently on the market.

Canon anticipates the imagePROGRAF PRO-6000 will be available this upcoming August for a whopping $ 12,000 USD.

Press Release

Professional Fine Art Photographers Prepare to Obsess as Canon U.S.A. Announces New Large-Format imagePROGRAF Inkjet Printer

MELVILLE, N.Y., July 20, 2017 – For professionals who want sharp, brilliant and obsessively beautiful prints that they can share with the world, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced its latest professional large-format inkjet printer – the imagePROGRAF PRO-6000. At 60-inches wide, the imagePROGRAF PRO-6000 printer is the largest 12-ink printer on the market today.

The PRO-6000 expands the PRO Series models offered from 17-inches to 60-inches wide, giving users the ability to own multiple sized printers all with the same print head, ink and image processor, helping to ensure the same high quality across the line. As with previous models, the PRO-6000 device’s sleek design emphasizes the link with Canon’s EOS digital cameras and red-line “L-series lens.” Highlights that set this model apart from the crowd include its 60-inch print width, the ability to feed from the only standard Multifunction Roll System in its class and a 12-channel system including Chroma Optimizer that offers spectacular image quality for the fine art and photographic markets.

“With the introduction of our largest model, the imagePROGRAF PRO-6000, we round out our full line of high quality PRO Series printers,” said Toyotsugu Kuwamura, executive vice president and general manager, Business Imaging Solutions Group, Canon U.S.A., Inc. “Our PRO Series now offers an expansive lineup of large-format inkjet solutions and sizes for a broad range of applications in the photo, fine art, proofing and graphics market segments.”

Designed to meet the needs of photo professionals and graphic artists, the imagePROGRAF PRO-6000 printer provides users with Canon’s input-to-output photo printing support, known as Crystal-fidelity. This solution allows users to obtain a print quality that accurately expresses the structure, clarity and texture of photos shot using Canon EOS DSLR cameras. Fine art professionals and graphic artists will welcome the versatility that the PRO-6000 offers, including the ability to print on various media types, such as glossy paper, matte paper and fine art textured paper.

“I prefer Canon large-format printers because of their amazing quality, as well as their outstanding reliability. With the new PRO-6000 printer, the singular print head further improves the quality of nozzle alignment for cleaner, sharper images. I can launch an entire roll’s worth of prints and be confident that I won’t find banding half way through the batch – a huge advantage over the competition,” said Cody Ranaldo, Technical Director for Griffin Editions NYC, a full-service fine art photographic printing, imaging and mounting studio. “The dual-roll loading system greatly reduces the amount of handling damage incurred when switching back and forth between rolls. Finally, there is an aqueous inkjet printer designed for a true production environment.”

“One of our best clients has been waiting to offer her work in 60-by-60 inches and is excited to now be able to offer fine art prints to a new client base,” said Eric Luden, founder and owner of Digital Silver Imaging, based in Belmont, Massachusetts. “Commercial clients are especially excited to see the larger scale prints for their lobbies and conference rooms. Our new Canon PRO-6000, which includes all the improvements that we’ve come to enjoy on our Canon PRO-4000, will open up new opportunities and markets for our business.”

High-level Precision

As with previous models in the imagePROGRAF PRO line, the imagePROGRAF PRO-6000 model features the LUCIA PRO 11-color plus Chroma Optimizer ink system to provide exceptional image quality. The printer maintains this high print quality with a multi-sensor that calibrates the printer, helping to ensure color consistency from the first print to the last and across multiple PRO Series printers. It also features a high-precision mechanical platform, providing a uniform, rigid frame to reduce vibrations during printing and more accurate ink ejection as well as effortless media feeding capabilities, allowing users to no longer have to worry about blemished prints due to fingerprints.

Extraordinary Productivity

The imagePROGRAF PRO-6000 printer features the L-COA PRO processing engine for high-precision image reproduction and high-speed processing of high resolution data. The Sub-Ink Tank feature valued by users of the imagePROGRAF Series has been carried over to this model, helping to reduce downtime and minimize costs by automatically enabling ink tank replacement during printing. With both black ink types active at the same time, there is no need to waste time or ink by swapping out tanks when printing between matte and glossy paper. Right out of the box users will be able to print more as the imagePROGRAF PRO-6000 model comes with 330 ml starter ink tanks.

Media Handling

Typically an option for smaller sized models, a Multifunction Roll System (MFR) comes standard with this 60-inch model to allow for increased versatility. When used as a second roll, the MFR system enables users to load glossy media in one roll and matte media in the other to seamlessly print to both rolls without needing to manually switch media. The Multifunction Roll unit will intelligently switch to the correct media, automating the process and providing increased ease of use. The roll can also act as a take-up unit with bi-directional rewind, ideal for long, uninterrupted print runs.

User-Friendly Software

Included with this new imagePROGRAF PRO printer to help enhance user experience is Print Studio Pro, a plug-in for Adobe® Photoshop®, Adobe Lightroom®¹and Canon Digital Photo Professional software. The Accounting Manager utility is included to help photographers keep track of consumable costs, such as ink and media, to help users determine their overall printing expenses. Also included is Device Management Console, an administrative tool which provides users with the means to manage up to 50 imagePROGRAF PRO Series printers, all from one location.

Availability

The imagePROGRAF PRO-6000 printer is expected to be available in August 2017 with an MSRP of $ 11,995.

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Meet the EOS 6D Mark II – Canon’s entry-level full-frame DSLR

29 Jun

Hands-on with Canon EOS 6D Mark II

Meet the new 6D – it looks a heck of a lot like the old 6D, but before you jump to the comments to complain about how nothing exciting ever happens in the camera industry anymore, read this article first.

Because appearances are deceptive…

Hands-on with Canon EOS 6D Mark II

One of the most notable upgrades compared to the original 6D is an entirely new 26.2MP full-frame CMOS sensor, with a native ISO sensitivity span of 100-40,000.

We haven’t been able to conduct any lab testing yet, but from our initial shooting it appears (unsurprisingly) to deliver better image quality than the 20MP sensor inside the 6D. The bump in resolution from 20 to 26 Megapixel won’t make as much difference to maximum print sizes as the bare number might suggest, but as a general rule, more pixels = better image quality.

Hands-on with Canon EOS 6D Mark II

Ergonomically, the 6D Mark II is exactly what you’d expect. Button layout is virtually identical to the original EOS 6D, and anyone with experience of a recent EOS-series DSLR will be able to find their way around without any trouble at all.

Hands-on with Canon EOS 6D Mark II

It’s the same story on the back of the Mark II, with one very obvious difference. The LCD is now touch-sensitive, and fully articulating.

Hands-on with Canon EOS 6D Mark II

Like so. Operationally, this makes the 6D Mark II behave very much like the APS-C format EOS 80D. It even shares the same 45-point phase detection autofocus system, with the same Dual Pixel AF implementation in live view and movie modes too, covering 80% of the frame both vertically and horizontally.

Speaking of movie mode, the EOS 6D Mark II offers a fairly standard (ahem – standard for Canon) video feature, with a maximum resolution of 1080/60p. If you want 4K, you’ll have to save up for an EOS 5D Mark IV, I’m afraid.

Hands-on with Canon EOS 6D Mark II

Spot the difference – externally, the 6D Mark II (on the left) is extremely similar to its predecessor. It’s basically the same weight, too – 685g (1.5 lb) compared to 680g.

Hands-on with Canon EOS 6D Mark II

And aside from the redesigned screen, it’s pretty much identical from the back, too. Which is fine – the 6D was a pleasant, intuitive camera, and aside from some very minor styling differences (the card access lamp is now above the memory card door, not below – tell all your friends!) the Mark II barely alters the basic recipe.

While the simultaneously announced EOS Rebel SL2 features a dedicated Wi-Fi button, setting up the 6D’s wireless system is all done through the camera’s menu system. The 6D II supports NFC for easy pairing with Android devices as well as Bluetooth for maintaining a constant connection with your mobile device. Like its predecessor, the EOS 6D Mark II also offers a built-in GPS for image geotagging.

Hands-on with Canon EOS 6D Mark II

Note the raised collar around the hotshoe. This forms a weatherproof seal when the 6D Mark II is used with one of Canon’s high-end flashguns.

As usual, Canon is coy when it comes to the extent of the EOS 6D Mark II’s weather-sealing, but I am in the unusual position of having been able to test a pre-production unit in moderately heavy rain. You’ll be reassured to know that while I got quite soggy, the camera didn’t stop working, explode or fall apart in my hands.

Hands-on with Canon EOS 6D Mark II

For almost 30 years, non-pro Canon SLRs have sported the same distinctive exposure mode dial. This is where you’ll find the standard PASM shooting modes, as well as auto exposure modes, including full-auto, custom shooting settings and scene modes (‘SCN’). The 6D Mark II’s main power switch is just below.

Hands-on with Canon EOS 6D Mark II

Some readers might be disappointed with the 6D Mark II’s single SD card slot (and lack of UHS-II support,) but a lot of enthusiasts and advanced amateurs probably won’t care. With card capacities of 64GB+ and built-in Wi-Fi, some 6D II users might find themselves swapping cards very rarely.

That said, with a maximum shooting rate of 6.5 fps, the 6D Mark II will rip through card space quicker than its predecessor (which maxed-out at 4.5 fps) especially in Raw mode.

Hands-on with Canon EOS 6D Mark II

The LP-E6N battery is compatible with most high-end Canon DSLRs, which is great news for anyone considering a 6D Mark II as a second camera alongside an original 6D or recent 5D-series body. Battery life is quoted as 1200 shots in viewfinder shooting mode, dropping to ~400 in live view.

Hands-on with Canon EOS 6D Mark II

Like the 5D and 1D-series bodies, the 6D Mark II is compatible with Canon’s Remote Switch RS-80N3, and the programmable TC-80N3. The remote switch socket is positioned at the front of the camera, safely out of the way of the handgrip.

Hands-on with Canon EOS 6D Mark II

Standard HDMI and USB I/O ports can be found on the side of the 6D Mark II, alongside a mic socket. We’re pleased to see that the mic socket is offset, which means that it shouldn’t snag the articulating screen during movie shooting.