Burrard-Lucas Photography are running a promotion to win a safari trip to Zambia.
This is a luxury trip, worth approx US$13,500.
For more info, and to enter, click my “Lucky Link”
The leaked/rumoured specs were pretty much spot on, but there were still some surprises under the hood. I hope to get my hands on one of these soon after release, but until then I can only comment on what Canon tell us it can do.
I’ll put a full specification list at the bottom of this post, but first off, I’d like to cover a few of the main differences between this and other models (namely the 5D Mark III, original 7D and the 1Dx).
The price (currently £1599) is where you would expect it to be as a “prosumer” grade cropped sensor DSLR. Technically speaking, it’s way ahead of the 5D Mark III on pretty much everything other than a full frame sensor. Some are saying this is like a mini EOS 1Dx, which can only be a good thing given that it is less than half the price, and still £600 cheaper than the already ageing 5D Mark III.
So, why should you buy this camera if you already have a perfectly capable 7D?
In my opinion, there are many reasons to upgrade, especially if your chosen persuasion is sports or wildlife photography. Here’s my summary:
If the claims made by Canon are true and this new high sensitivity/low noise sensor produces superb images in low light, then almost all of the benefits of a full-frame sensor are gone. The one exception is if you happen to be a landscape photographer and want to maintain your ultra wide angle shots.
Some other nice features which excite a geek like me but seem to have been overlooked my many of the mainstream reviews are as follows:
All in all, this looks like a really, really nice camera. It is very capable and will be just as much at home in a Pro’s bag as an enthusiastic amateur’s. It is scheduled to be available from authorised canon dealers from November 2014 onwards.
Head over to www.cvp.co.uk for some of the best UK deals.
Here are the full specs, in case I’ve overlooked anything and a few pics of what it looks like.
|Type:||22.4 x 15.0mm CMOS|
|Effective Pixels:||Approx. 20.2 Megapixels|
|Total Pixels:||Approx. 20.9 Megapixels|
|Low-Pass Filter:||Built-in/Fixed with fluorine coating|
|Sensor Cleaning:||EOS Integrated cleaning system|
|Colour Filter Type:||Primary Colour|
|Type:||Dual “DIGIC 6”|
|Focal Length:||Equivalent to 1.6x the focal length of the lens|
|Type:||TTL-CT-SIR with a dedicated CMOS sensor|
|AF System:||65 cross-type AF Points (Centre point is an extra sensitive dual-cross type point at f/2.8, cross-type at f/8|
|AF Working Range:||EV -3-18 (at 23°C & ISO100)|
|AF Modes:||AI Focus, One Shot, AI Servo|
|AF Point Selection:||Automatic selection, Single Point AF, Single Point Spot AF, AF point Expansion 4 points, AF Point Expansion surrounding 8 points, Zone AF, Large Zone AF|
|Selected AF point display:||Superimposed in viewfinder and indicated on top LCD panel and Quick Control screen|
|Predictive AF:||Yes, up to 8m|
|AF Lock:||Locked when shutter button is pressed half way in One Shot AF mode or AF-ON button is pressed|
|AF Assist Beam:||Intermittent firing of built-in flash or emitted by optional dedicated Speedlite|
|Manual Focus:||Selected on Lens|
|AF Microadjustment:||+/- 20 steps (wide and tele setting for Zooms), adjust all lenses by same amount, adjust up to 40 lenses individually, adjustments remembered for lens by serial number|
|Metering Modes:||TTL full aperture metering with 252 zone Dual Layer SPC – Evaluative, Partial, Spot and Centre weighted metering|
|Metering Range:||EV 0-20 (at 23° with 50mm f/1.4 lens ISO 100)|
|AE Lock:||Auto: in 1-shot AF Mode with evaluative metering exposure is locked when focus is achieved. Manual: By AE Lock button in creative zone modes|
|Exposure Compensation:||+/- 5 EV in 1/3 or 1/2 stop increments (can be combined with AEB)|
|AEB:||2,3,5 or 7 Shots +/-3 EV 1/3 or 1/2 stop increments|
|ISO Sensitivity:||Auto (100-16000), ISO-16000 (in 1/3 or 1 stop increments) H1:25600, H2:51200|
|Type:||Electronically-controlled focal-plane shutter|
|Speed:||30-1/8000sec (1/2 or 1/3 stop increments), Bulb|
|Type:||Auto White Balance with the imaging sensor|
|Settings:||AWB, Daylight, Shade, Cloudy, Tungsten, White Fluorescent light, Flash, Custom, Colour Temperature in Setting-White balance compensation|
|Custom White Balance:||Yes, 1 setting can be registered|
|WB Bracketing:||+/- 3 levels in single level increments, 3 bracketed images per shutter release|
|Dioptre Correction:||-3 to +1m|
|Focusing Screen:||Interchangeable (3 types, optional). Standard EH-A, Super precission Matte EH-S II|
|Mirror:||Quick-return half mirror (Transmission: reflection ratio of 40:60, no mirror cut-off with EF 600mm f/4 or shorter)|
|Viewfinder Information:||AF Info, Focus Indicator, Exposure Information, Flash Information, Image Information, Composition Information, Other information|
|Depth of Field:||Yes, with Depth of Field preview button|
|Eyepiece Shutter:||On Strap|
|Type:||7.7cm (3.0″) Clear View II TFT, approx. 1040k dots|
|Viewing Angle:||Approx. 170°|
|Coating:||Anti-reflection and Solid Structure|
|Brightness Adjustment:||Auto, Manual|
|Built-in Flash GN:||11|
|Built-in Flash Coverage:||up to 15mm focal length (35mm equivalent: 24mm)|
|Built-in Flash recycle time:||Approx. 3 seconds|
|Modes:||E-TTL II, Manual Flash, Multi flash, Integrated Speedlite Transmitter|
|Flash Exposure:||+/- 3EV in 1/2 or 1/3 increments|
|Flash Exposure Bracketing:||Yes|
|Flash Exposure Lock:||Yes|
|External Flash Compatibility:||E-TTL II with EX series Speedlites, wireless multi-flash support|
|External Flash Control:||Via Camera Menu Screen|
|Modes:||Intelligent Auto, Program AE, Shutter priority AE, Aperture priority AE, Manual, Bulb, Custom|
|Picture Styles:||Auto, Standard, Portrait, Landscape, Neutral, Faithful, Monochrome|
|Colour Space:||sRGB and Adobe RGB|
|Drive Modes:||Single, Continuous L, Continuous H, Self timer, Silent single shooting, Silent continuous shooting|
|Continuous Shooting:||Max. Approx. 10fps, infinite JPEGs or 31 RAW Images|
|Intervalometer:||Built-in, number of shots selectable from 1-99 or unlimited, Bulb timer possible|
|Live View Mode|
|Type:||Electronic viewfinder with image sensor|
|Frame Rate:||29.97 fps|
|Focusing:||Manual, Autofocus, Tracking|
|Metering:||Real-time evaluative metering with image sensor|
|Display Options:||Grid Overlay, Histogram|
|Still Image Type:||JPEG, RAW|
|Movie Type:||MOV (Video: H.264 or MP4: Intra frame / inter frame, Sound: Linear PCM with H.264, AAC with MP4)|
|Movie Size:||1920 x 1080 (59.94, 50 fps)|
|Max Duration:||29min 59sec|
|Computer:||SuperSpeed USB 3|
|Type:||CompactFlash Type I (UDMA compatible), SD Card|
|Supported Operating System|
|PC & Mac:||Windows 8.1/7/7 SP1 / Vista SP2 / XP SP3 – OS X v10.8-10.9|
|Included Software:||ImageBrowser EX, Digital Photo Professional, PhotoStitch, EOS Utility, Picture Style Editor|
|Battery Life:||Approx. 670 shots|
|Battery Indicator:||6 levels + percentage|
|Power saving:||Power turns off after 1,2,4,8,15 or 30 mins.|
|Body Materials:||Magnesium Alloy body covers|
|Operating Environment:||0-40°, 85% or less humidity|
|Dimensions (WxHxD):||148.6 x 112.4 x 78.2mm|
|Weight (body only):||Approx. 910g|
Source: Canon official Press release.
An African Safari had been one of my life long ambitions until I finally got to go in 2010. We arrived in Johannesburg for a one night stay before our 10 hour drive to Kruger National Park. The excitement was building and we grabbed the opportunity to visit a local camera shop to top up on essential batteries and memory cards (you can never have enough!). Our guide and driver for the day was a nice enough guy, but he was quite difficult to understand. Fortunately, upon arriving at camp we dumped our clothes bags and were straight back out, but this time in an open Land Rover safari vehicle with a different guide. This guide was extremely knowledgeable and within the two hours we had before sunset, we were lucky enough to encounter three of “The Big Five” and an abundance of other wildlife.
I enjoyed it so much, I returned the following year and have a Botswana trip planned for September 2014.
The Big Five
As soon as you arrive in South Africa you will become aware of the phrase “The Big Five”. It is what most tourists are desperate to see on their once in a lifetime trip. It doesn’t refer to the largest animals, nor does it refer to the most difficult to see. It was a phrase coined by white hunters to describe the most dangerous or difficult animals to hunt (on foot). They are:
For some, the big five is an obsession but for us it was a bit of fun and did give a nice feeling of achievement once we had been lucky enough to witness all five up close. With such an abundance of different species, it’s easy to come up with a “Little Five” and as we did, an “Ugly Five” – the Warthog being the clear winner.
Back to the bush
After a few hours sleep, (you’ll be up between 4 and 5 a.m.!) it was straight back out in to the wilderness. Our first mistake, with hindsight, was letting the tour company arrange our booking. We discovered that we would be on a safari vehicle with up to ten people, which is not ideal if you have a large camera bag and want to get some decent shots. You need space and ideally to be able to move to either side of the vehicle without someone else in the way. Fortunately, we had requested on the way from Johannesburg that we get our own guide and vehicle. The tour company were able to accommodate us (at a price) for two of our four remaining days. And so, we met Toby from About Nature Tours. His knowledge on wildlife is unbelievable. There was not a single animal, bird, reptile or piece of dung he could not identify. From a photographers point of view, he was the best guide we could have hoped for. At all animal sightings, he positions the vehicle so we have a good vantage point and then instantly turns off the engine so we didn’t get shaky pictures.
Once back out in the wild, we quickly see more impala, then more, then more. Initially you find yourself clicking away getting some great shots of these pretty little antelope. After only a few hours, your reaction changes from “Stop!, Impala…” to “carry on, it’s only more impala.”. For us, a similar thing happened with Giraffe but as they are such huge and gracious beasts, you never tire of seeing them.
First off, as mentioned above try to get a private guide who limits the number of people per vehicle. It’s not so bad if you are with a group of friends who don’t mind you laying across their laps with your camera, but strangers tend to take offence. 1 person per row of seats is perfect. Most Safari operators can be accommodating of photographers but ideally you want a guide who is a photographer themselves. Some specialised companies are around who even provide cameras, lenses and mounts for you but the price does start climbing. Unless money is no object, I recommend just talking to a general safari company and see what they can offer. Once you’ve done it a couple of times, then start going with the Pro’s!
You need big, fast lenses. I took a Sigma 150-500mm f/5-6.3, which is a lovely lens, but not really fast enough. Many of the best photo opportunities are either at dawn or dusk when the light is not great. At 300mm, you really want to be shooting at 1/300s or faster to get the animals sharp. This was simply not possible with the Sigma lens unless I pushed the ISO right up (thus introducing noise). Next time, I will be hiring either a Canon 400mm f/2.8 or the new Sigma 120-300mm f/2.8. I would say that 80% of my shots would have been fine with a 300mm lens. The other 20% needed a little more reach (fixed by a 1.4x converter at the expense of 1 stop), or a much wider angle, which is where the backup camera comes in to play. [Edit] On my next trip, I did take a Sigma 120-300mm f/2.8 and I had many more “keepers”. A full frame body would have helped get even more in low light where I could have pushed the ISO a bit more than I can with an EOS 7D. It really boils down to affordability. Canon and Nikon both have a 200-400mm f/4 lens available, and the Canon variety has a built in 1.4x extender (I don’t know about the Nikon). This is as close to a perfect Safari lens as you would wish for, but at over £8000 to buy or £500 to hire for a week you need to be experienced enough to use it and avoid disappointment. An APS-C sensor gives you the extra crop-factor without losing the 1-2 stops of light you would with a full frame/extender combo, but the better ISO performance of full frame balances that anyway – horses for courses really. Take what you can afford and what will fit in your camera bag.
The next tip is – take a backup camera. If you don’t have a second DSLR body to take with you , I recommend either hiring one or as I did, buy one on eBay and sell it again when you get back. The latter being by far the cheapest option (I made a profit!). There are a couple of good reasons to take one. The first being that you have spent a lot of money on the trip and you would be immensely disappointed if your camera packed up on the first day. There is nowhere to buy one once you are there and others will be very reluctant to lend you theirs. Secondly, it’s a dusty place and things happen fast. You don’t want to be swapping lenses all the time if it can be avoided. You can be zoomed in to a leopard 200m away and an elephant might appear within 20m of the vehicle. A 400mm lens is not going to be any good, so you need to have a wider angle lens already on the backup camera and ready to shoot. I used a 17-85mm f/4-5.6 which got me out of trouble most of the time.
Backup. A endless supply of memory cards would be nice, but not always practical. They also sometimes go wrong. Take a laptop or tablet with you or one of those memory card backup hard disks and copy all of your photos every day. I took both and kept one copy with me and left one in the room/tent.
Insurance. Get your kit insured. These are very dusty and bumpy places and the risk of a lens getting a whack or bouncing on to the floor is very real. There is also a small risk of theft, but that’s more likely to occur at the airport if you check in your equipment. Change lenses as little as possible or you will spend hours trying to blow the dust off your sensor.
Camera Mount. This is quite a difficult one. Space is tight in the vehicle and you are generally not allowed to get out (in Kruger, at least), so you don’t really want a tripod with you. Some vehicles have sides which are quite high or platforms, both of which are ideal for beanbags. If you are in an enclosed vehicle, the windows are quite good for beanbags too. A monopod with a quick release ball head was my mount of choice, but this may vary in a different vehicle. I would say that if you take a monopod and beanbag, you’re pretty much covered. I left the beanbag empty and just bought 3Kg of rice when I got there – worked a treat. One thing worth mentioning is that the night sky in Africa is fantastic. If you wanted some astro-photography shots of the Milky Way, you’ll need to pack the tripod too.
In part 2, I will go into more detail about the animals you encounter, clothing and my future plans.
So, the rumour mill has been grinding a lot recently about the arrival of this long-awaited addition to the Canon lineup.
It’s been 5 years since the original EOS 7D was released, and it has been hailed as one of the most successful models in the Canon range. None of the models released since target quite the same market as the 7D did. The 6D looked promising but is too slow (4.5fps) and full frame, meaning all those with EF-S lenses would have to ditch their lens investment and start again. The 70D again looked like a good compromise, but lacks the build quality and features and really does not offer enough benefits for existing 7D users to upgrade.
Looking back at what made the 7D stand out will hopefully give insight into what the new version may offer.
I’ve read the rumours elsewhere, and applied a little logic too in order to come up with what I think is the most likely, and most complete spec list for the 7D Mark II (and yes, I’m pretty sure that’s what Canon will call it!).
Announcements are expectedaround September 15th, with availability soon after. There is also talk of a new 100-400mm L series lens being announces at the same time. If that turns out to be true, I’ll have a whole new kit bag for my trip to Botswana in September!
Update July 6th: According to the website canonrumors.com, they have information from a very reliable source that the Non-Disclosure Agreements relating to the EOS 7D replacement will be lifted in September. This makes it highly likely that the camera will be released at Photokina in Cologne, Germany from the 16th September. Whilst I really can’t wait for the announcement, it does mean that I’m unlikely to get my hands on the new body before my departure to Botswana on the 19th September. Shame 🙁
Anyone who knows me cannot deny my love of gadgets. If it has buttons, runs on batteries or plugs in, I want it.
The same applies to my photography – I like experimenting. In the good old days, that involved screwing a webcam or SLR to the back of my telescope or attaching lenses backwards to achieve macro-like focus.
More recently, I bought myself a Go Pro Hero 3 so I could film underwater in the pool. In actual fact, I ended up in an Airboat travelling about 30 mph across an alligator infested swamp shooting video at water level (see my other post on that!).
So, what’s next I often ask myself? Send the GoPro up to the edge of space on a weather balloon? Perhaps, but that’s been done already. How about a camera which lets you adjust your focal point AFTER the shot has been taken?
Enter, the Lytro Illum.
I discovered this camera purely by accident when reading some tech previews on one of the many geeky websites I frequent. It’s not due for release until summer 2014, but I have been following it’s progress very closely, and it looks VERY exciting.
There is one problem I foresee – this camera will mean I have to throw away every photography book I own because it rewrites them. All of them.
The Lytro Illum is billed as a ‘Light Field camera’. What this means is that rather than having a traditional sensor just capturing the light hitting the pixels, this puppy captures the entire light ray! We’re not talking pixels, we’re talking rays – 40 million of them in total (of 40 ‘Megarays’)
By capturing the ray of light, this enables the photographer to pick the focal point within the image after it has been taken. The days of taking a one-in-a-million shot only to find you focused on the tree in the background are gone. Simply choose the subject which was supposed to be in focus and you have the image you were after. Not only does this increase your “keeper rate” dramatically, it adds another dimension, literally, when viewing the images afterwards. If, as if often the case these days, you create a slideshow or video to view and share your images, you can create pull-focus effects much like you see in any professional video work, all from a single image.
I can see many situations where the functionality of this camera is literally going to change the way we take pictures. We’re already starting to see similar (although nowhere near as advanced) features popping up in the latest smart phones, but I’m more interested in how it will perform with specialist subjects.
For sports (not me!) and wildlife (me) photographers, the 1/4000sec shutter should be able to catch much of the action, and the 30-250mm (equivalent) lens has a pretty good reach.
The Macro performance intrigues me – the official specs state that it can focus down to 0mm in front of the lens. Yes, you did read that correctly – that’s ZERO millimetres. That will give some pretty unique close-ups. One thing macro photography always suffers from is a very shallow depth of field, so I’ll be very interested to try some focus stacking from a single frame.
Landscapes might prove a bit of a problem as the wide-angle doesn’t seem that wide, but that remains to be seen.
The build quality looks good with a mix of Magnesium and Aluminium (or Aluminum as out American friends insist on calling it) in the body, and it weights only slightly more than a “prosumer” grade D-SLR body (without a lens attached).
Take a look at the documentary below with some stunning examples on how this thing works:
First off allow me to introduce myself, I am Greg’s Brother In Law and fellow budding photographer. I hope to post some useful links for you and some of my own images if I ever think they’re good enough to share! I have a lot to learn.
This link in question is to a site I’ve been watching lately run by photographers Patrick Hall (www.patrickhallphotography.com) and Lee Morris (www.rlmorris.com) called fstoppers.com They created the site in order to show high quality videos of photographers working and discussing their methods.
This video in question is by Paul Duncan and describes how flash sync works in hot shoe based DLSR flashes.
Most illuminating. Enjoy.
Since owning a couple of Raspberry Pi’s, many of the projects I intended to create with my Arduino were given a new lease of life.
The Arduino is great for doing I/O related stuff – so camera triggers based on various sensors, controlling robots, environmental monitors and home automation amongst other things. However, getting it talking to the outside world can start to get expensive. There are USB Host “shields”, ethernet shields, in fact more shields than a field full of saxon warriors would know what to do with. But, they are often time consuming to program for otherwise simple tasks such as running a web server, sending email alerts, etc.
This is where the Pi comes into its own. The interface to the outside world is there to use at will in the form of web pages, email, audio or even full HD video if you wish. You get a bunch of programmable GPIO pins thrown into the mix so if you need to add some buttons, sensors, motors or lights it can all be done very simply. That concludes my praise of the Raspberry Pi, now on to the project.
This expands upon a project I found by David Hunt which is a very simple way to trigger your DSLR in sync with a couple of droplets of water. The limitation of David’s version was that there was no way to trigger it quickly and easily without either hooking it up to your network or plugging in a keyboard and display. Essentially my project is the same – it uses a solenoid to release a couple of water drops in quick succession and then fires the camera shutter. Some good results are possible. I figured that by adding a pushbutton, the whole lot could be put in a small enclosure and used anywhere and without a computer or network. I then extended a little more by adding a web server (using the WebIOPi framework) and a wifi dongle to create an ad-hoc wireless network which can be connected to with your smartphone. The web interface provides a nice simple interface to allow complete customisation of how and when the droplets are released – how many drops, interval between them and delay before firing shutter. I have terminated the shutter release pins on a 2.5mm jack which is compatible with many low cost universal shutter release cables so this project should work with any camera (in theory) which can be fired using a shutter release cable. It also save having to chop up old cables and makes it look a bit tidier.
Other considerations which I am yet to implement are 2 additional trigger ports for off-camera flash. By using a longer shutter speed and using the flashes to provide all the light for the shots, it is possible to get extremely sharp shots and you can be creative with things like coloured gels. My Canon EOS 7D is quite happy commanding external flashed itself, so I’ve not bothered putting this functionality in yet, but perhaps I will if enough people ask for it.
Lastly, and a little obscurely – this very same device can be used as a the basis for a digital drinks measure. By having a different web page, using some food grade 6mm tubing and some modified bar optics (very cheap on eBay) it is possible to have your Pi dispense perfectly measured drinks for you . The Pi has 15 usable IO pins, so in theory that means it could control up to the same number of Solenoids – all attached to different bottles. Pop your glass under the “tap”, open the webpage and select the drink of choice from the menu – from milk to margaritas, Orgasms to orange juice. The choice is yours!
So, I’ve been trying to think of a decent use for my Raspberry Pi that nobody else has thought of yet. And then, my dishwasher sprang a leak all over the kitchen floor.
The status lights had been doing some weird stuff for a while, but normally just putting the thing on again got it going. What I didn’t know was that all those flashing lights meant that water was leaking out all over the kitchen floor, not doing the laminate flooring any good whatsoever.
So, what if the flood sensor (basically a switch connected to a lump of polystyrene) were connected to my RasPi which in turn was connected to my WiFi network? Any triggering of the sensor would initiate an email with a useful message telling me exactly what was wrong. Sounds good so far, but why stop there? How about notifications when the salt was running low, or the rinse aid needed filling up?
I’m now thinking a web interface would be good for the current status (much like the sort of thing you get on a networked printer) showing salt level, rinse aid level, current status and estimated time before complete.
Configurable alerts would be quite easy to set up for all of the above, including a mail when the cycle finishes. I have to take my trusty old SMEG apart again next week to replace a couple of o-rings and hopefully stop the leak. I’ll take a quick look at the circuitry while I’m inside and see what my conclusion is.
Watch this space!
Last night was “Camera Club Night”, with this weeks topic of Industrial Photography. I was a little unsure of what to expect but was pleasantly surprised to be given a very informative talk by Mr Rob Marvelly, a former employee of C.E.G.B and nPower. The first half of the evening was a fascinating projected slide show of his lifes work as an in-house photographer for the aforementioned companies. His images, whilst quite dated, were strangely fascinating. An insight in to a world that is rarely experienced by anyone apart from those in the business of generating energy. Nuclear Reactors, Power Station Control Rooms, men in white coats…..and ducks.
That’s where it got a bit strange. The second half of Bob’s (we knew him by then) presentation involved two 25 year old short videos. The first, 16 minutes long, was a safety video going in to a lot of detail of how they fixed a problem with some pipes at Dungeness Power Station. The second video, 28 minutes long, was a wildlife documentary detailing how the power industry are doing their bit for nature. Quite fascinating, but only because I’m a fan of wildlife documentaries – but hardly photography. All in all, a very informative evening although I think the die-hard photographers in the group may have felt a little cheated as there was little to be learned from a photography perspective.