A Bit of Everything (EOS 6D Mark II, G7X II, EF 24-70mm f/4L, EF-S 35mm f/2.8 Macro, and more)

Above: Canon PowerShot G7X II Review – Still The Best Vlogging Camera? (Byte Review)


Free Lightroom and Photoshop presets

Canon EF 24-70mm f/4L review by Photographic Central

Nothing is more satisfying than using a lens like this in real life. Practically speaking, handling is superb- the lens design will not frustrate you when relying on it counts the most. Image stabilization is very effective if you prefer to rely on it. If you don’t mind a constant f/4 aperture like me, you should try one out, but  just be prepared to part with your money. This lens has consistently put a smile on my face, before, during, and after the exposure process.

Canon EF-S 35mm f/2.8 Macro IS STM by LensRentals

Canon PowerShot SX620 HS Sample Images by Photography Blog

Rental Camera Gear Destroyed by the Solar Eclipse of 2017 (LensRentals)

Canon 6D Mark II Camera Review (Richard Bernabe)


This photographer took a dancer to Iceland to test out the Canon 6D Mark II (DIY Photography)


Review of the Canon C200 Cinema Camera (The Slanted Lens)


Tamron SP 24-70mm F/2.8 Di VC USD G2 Review (Photography Blog)

The new Tamron SP 24-70mm F/2.8 Di VC USD G2 is a versatile walk-around lens with a fast maximum aperture that consistently delivers great images. It’s very sharp throughout most of the zoom and aperture range, even at the edges of the frame, with sharpness only falling off a little shooting wide open at f/2.8. The new SP 24-70mm G2 also produces very nice bokeh effects thanks to the 9-blade iris diaphragm, although there’s some very obvious vignetting and some barrel distortion at 24mm, plus slight pincushioning at 70mm. Overall, though, there’s little to complain about in the image quality department.


Yashica teases a new camera on Kickstarter in October


Canon EF 70-300mm f/4-5.6 IS II USM Review (Photography Blog)

Despite the fact that the Canon EF 70-300mm f/4.5-5.6 IS II USM lens is not an “L” series lens, it is still capable of producing excellent images.

Thanks to its relatively small size and light weight, it would make an ideal companion for photographers who want to have a long telephoto length in their bag, perhaps while travelling, or on shoots that involve a lot of walking.

It’s ideally suited to subjects such as wildlife and sport, but as it has a versatile focal length, you could also use it for other subjects such as portraits and still-life shots, making it a good all-round option that you could potentially get a lot of use out of.


Canon EOS 6D Mark II Review: Hands-on, What I love, What I don’t about the EOS 6D Mark II (PhotoRec TV)


Canon 6D Mk II Review (vs T7i/80D/a7R II/D810/5D Mk IV/GH5/EM1 II/XT2) – Tony & Chelsea Northrup


Canon EOS 6D Mark II | Dynamic Range Examination – Dustin Abbott


Canon 6D Mark II “Real World Review”: Does it SUCK? – Jared Polin

Canon is consultant for Japanese Anime production to feature realistic cameras

Canon Is Consultant For Japanese Anime Production To Feature Realistic Cameras

Canon was recruited for the Japanese Anime production “Just Because!” to make sure cameras depicted in the animation are realistic.

“Just Because!” will start October 5, 2017. One of the main characters is a schoolgirl with a passion for photography.

Japanese anime

The character’s main camera is a PowerShot G5 X. But she is using also other Canon gear, like the EOS 7D Mark II, the EOS M6, and the EF 100-400mm f/4.5-5.6L IS II lens. Canon’s contribution was to make the cameras and lens look absolutely realistic.

The trailer below briefly shows the EOS 7D Mark II.

[via DC Watch via PetaPixel]

Canon expands pixel size on FF sensors for more dynamic range & low light performance, white papers

Canon Expands Pixel Size On FF Sensors For More Dynamic Range & Low Light Performance, White Papers

Two interesting white papers published by Canon’s research engineers show how the company is working to build 35mm equivalent, full-frame sensors with increased dynamic range and low light sensitivity. Both articles where presented at the Hollywood Professional Alliance (HPA) Tech Retreat in Palm Springs on February 19, 2016.

The papers, spotted by Image Sensors World, discuss the challenges to fit 19um large photodiodes on a FF sensor. The white papers refer to the sensor featured in Canon’s ME20F-SH multi-purpose camera, a low-light champion.

The image sensor design sought optimization of three key attributes of the photo site:

  1. Sensitivity – determined by the quantum efficiency of the photosite
  2. Saturated charge quantity (sometimes termed full well capacity) – that determines dynamic range
  3. Efficiency of the charge transfer (sometimes termed conversion gain) – the goal being to transfer all electrons during each reset period to ensure full sensitivity

The larger the active photosite within the individual pixel the greater the capacity for capturing photons during the normal charge period. This is the primary factor defining the sensitivity of the photosite. However, the efficiency of accumulating and transferring these electrons to the pixel output during the readout period are equally important. The total charge accumulated must then be converted to a voltage that constitutes the output of that individual pixel. The pixel size of the ME20F-SH is approximately 19um square – and the photosite is a little smaller because of associated circuitry. The quantum efficiency of the photosite is defined by the percentage of incident light photons that are converted to electrons. Figure 3 shows the spectral characteristics of the image sensor. The effective monochrome Quantum Efficiency of the ME20F-SH photosite output is 70% at 500 nm.

ME20F-SHAbstracts on Canon’s Digital Learning Center state:

This presentation will review two technical innovations in CMOS image sensors and their associated digital processing that have significantly enhanced motion image origination. Details of the relevant technologies will be discussed.

The first technology is a new Super 35mm CMOS image sensor specifically developed to support origination of High Dynamic Range (HDR) motion imagery. The deployment of two separate photodiodes within each photosite is central to achieving the 15-stop dynamic range. The dual photodiode also supports a unique in-sensor phase detection strategy that is followed by powerful data processing that closes a focus control loop around the cine lens. Alternatively, for those who prefer manual focus operation, a separate data processing provides a Focus Guide in the form of signaling in the viewfinder achievement of precision focus.

The second technology exploits the large size of the 35mm Full Frame CMOS image sensor with the modest spatial sampling of 1920 (H) x 1080 (V) to realize a uniquely large photosite of 19 um x 19um. This facilitated development of an HD camera having unprecedented sensitivity. The final operational specification of a maximum ISO 4,000,000 setting has produced an HD camera that opens a broad spectrum of truly innovative image capture. This includes nighttime wildlife productions (many species are nocturnal) and deep underwater imaging that require no lighting whatever, certain astronomical shooting, unique documentary productions, and many forms of surveillance imaging.

Advances in further developing Canon’s own Dual Pixel Auto-Focus technology are also discussed:

Second Generation Dual Pixel CMOS Image Sensor – 15-Stop DR

The C300 Mark II employs a new generation Super 35mm CMOS sensor which is based on the same dual photodiode per photosite. Additional innovations within the photodiode design in combination with new on-chip noise cancellation technology have simultaneously lowered the noise floor and further elevated the saturation level of the charge well. In addition, a totally new microlens design heightens the efficiency of light direction onto the two individual photodiodes while also improving the separation between the two photodiode outputs.

The Canon ME20F-SH is not for anyone everyone, it’s a specialised camera and it sells for $20,000 at B&H Photo and Adorama.

Canon Receives 2017 Technology & Engineering Emmy Award

Canon Receives 2017 Technology & Engineering Emmy Award

Lenses they can make at Canon. More about Canon’s 4K zoom lenses here.

Press release:

And the Winner is…Canon Receives 2017 Technology & Engineering Emmy® Award

The Academy of Television Arts & Sciences Honors Canon’s Impressive Lineup of 4K Zoom Lenses

MELVILLE, N.Y., September 28, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced that its parent company Canon Inc. will be recognized at the 69th Annual Technology & Engineering Emmy® Awards for its complete lineup of 4K field production zoom lenses for large-format, single-sensor cameras, which includes all of Canon’s CN-E, CINE-SERVO and COMPACT-SERVO lines of zoom lenses. Presented by the Academy of Television Arts & Sciences (ATAS), the Technology & Engineering Emmy® Awards honor development and innovation in broadcast technology and recognize companies, organizations and individuals for breakthroughs in technology that have a significant effect on television engineering.

“We are grateful to receive this esteemed recognition for our comprehensive collection of 4K zoom lenses for large-format single-sensor cameras,” said Yuichi Ishizuka, president and COO, Canon U.S.A. “As resolutions leap from HD to 4K and beyond, it is important to recognize the lens’ role in resolving those pristine images and the importance placed on manufacturers and optical engineers to keep pace and match the sensor technologies of the more advanced cameras and sensors in the market today. The images we admire on screen all start with the lens.”

Among those lenses recognized with this prestigious award is Canon’s far-reaching CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom Lens, the world’s longest 4K ultra-telephoto zoom lens. Canon announced the CINE-SERVO 50-1000mm Zoom Lens in October 2014 and it began shipping in early 2015. Since its launch, the lens has been a part of many live broadcast, and innovative television productions including National Geographic’s groundbreaking live television event, “Earth Live.”

“The CINE-SERVO 50-1000mm lens was the ideal piece of glass for what we were trying to capture while shooting Earth Live,” said Al Berman, Executive Producer, Earth Live. “Often when shooting wildlife in their natural habitat, videographers don’t have the opportunity to be up close and personal with their subjects, but Canon’s CINE-SERVO 50-1000mm made it as if we were right there with them. It’s probably the best wildlife lens on the market.”

Canon’s remarkable CINE-SERVO 50-1000mm T5.0-8.9 Ultra-Telephoto Zoom lens was a response to an international plea for a long zoom, Super 35mm lens to extend creative flexibilities in 4K / UHD natural history and documentary productions. The design challenge that Canon faced was significantly elevated by the urging from potential users that the lens be easily portable in the demanding in-the-field situations faced by those originating wildlife productions in remote locations. The necessary focal range was predicated on the expressed desire to fully frame a subject having a height of four to five feet from a distance of 350 feet. This requirement dictated a focal range of 1000 mm. An additional consensus recommendation from the production community was for the lens to be no more than 15 pounds in weight and 16 inches in length. Canon mobilized the most advanced computer simulation tools to seek the necessary optimization in both the optical system and the optomechanical systems to achieve success.

The design of these lenses leveraged Canon’s decades of expertise in such system designs as well as the deployment of the latest in glass materials to achieve a balance of telephoto 4K optical performance and acceptable image brightness within the physical constraints. The 4K optical performance of the lenses are carefully managed across the entire image plane to ensure superb subjective sharpness especially on the wider angle settings.

The Technology & Engineering Emmy® Awards will be presented on October 25th, 2017, during the SMPTE 2017 Annual Conference in Hollywood, CA.

For more information about Canon’s line up of 4K Zoom Lenses, please visit:www.usa.canon.com/internet/portal/us/home/products/list/lenses/cinema

Canon announces development of Free Viewpoint Video System virtual camera system for immersive viewing experience

Various types of video production are employed at sporting events to convey a passion for sports and the thrill of competition. With the development of its Free Viewpoint Video System—which creates an immersive experience that gives the user a sense that they are really there—Canon has achieved a video experience that can be viewed from various angles and viewpoints, expanding the boundaries of visual expression and contributing to the development of video culture.

Canon press release:

MELVILLE, N.Y., September 21, 2017 – Canon Inc. announced today the development of the Free Viewpoint Video System, a new visual solution that incorporates the optical and sensor technologies cultivated by the Company over many years. Using this technology, Canon aims to provide a high-value-added imaging solution for a wide range of applications including sporting events.

Various types of video production are employed at sporting events to convey a passion for sports and the thrill of competition. With the development of its Free Viewpoint Video System—which creates a realistic, immersive experience that gives the user a sense that they are really there—Canon has achieved a video experience that can be viewed from various angles and viewpoints, expanding the boundaries of visual expression and contributing to the development of video culture.
The system comprises several high-resolution cameras set up around the stadium, which are connected to a network and controlled via software to simultaneously capture the game from multiple viewpoints. Afterward, image processing technology renders the videos as high-resolution 3-D spatial data where users can freely move a virtual camera around the 3-D space, resulting in video that can be viewed from various different angles and viewpoints.
The Free Viewpoint Video System offers a completely new, totally immersive visual experience that enables viewers to operate a virtual camera in 3-D space to move freely around the stadium and even experience the simulated physical sensation of being among players on the field during a game. Along with providing a new way to enjoy sporting events, Canon plans to explore such potential applications for this system as training teams and athletes.
Sample video
J League Match: November 3, 2016
Kawasaki Frontale vs. Gamba Osaka
at Kawasaki Todoroki Stadium, Kanagawa Prefecture
Canon strives to promote sports and culture by using its cutting-edge products and technologies to develop innovative ways to enjoy visual content.
Additional information 
Canon will showcase the Free Viewpoint Video System at the Canon booth during
Inter BEE 2017, held from November 15 to 17 at the Makuhari Messe in Chiba, Japan.
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Albuquerque International Balloon Fiesta sponsored by Canon

Albuquerque International Balloon Fiesta Sponsored By Canon

Canon press release:

Canon U.S.A. Renews Sponsorship of the Albuquerque International Balloon Fiesta

Canon Will Continue to Engage and Educate Visitors at One of the World’s Most Photographed Events Through 2020

MELVILLE, N.Y., September 21, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce a renewal of its partnership with world-renowned event, the Albuquerque International Balloon Fiesta, taking its role as presenting sponsor of the event through 2020. This renewed sponsorship marks Canon’s commitment to the Albuquerque community, an area where Canon calls home to one of the two U.S. support centers that service the Company’s customers. To mark this momentous three-year sponsorship renewal, Canon has and will continue to sponsor the opening Mass Ascension and closing Night Magic™ Glow events.

“It’s been a true honor to serve as the presenting sponsor of the Albuquerque International Balloon Fiesta since 2015,” said Eliott Peck, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., Inc. “It is a place to let your imagination run wild and is truly awe-inspiring as colorful balloons fill the sky – making it the ideal setting for photographers and videographers to capture spectacular images.”

As one of the most photographed events in the world, the balloon fiesta offers many photo opportunities to create memories of a lifetime. This year’s 46th annual event will take place Oct. 7-15, 2017 in Albuquerque, New Mexico, featuring over 500 hot air and gas balloons, of which the Fiesta anticipates almost 100 of those to be special shaped balloons.

“We are thrilled to continue our partnership with Canon as the Fiesta’s Presenting Sponsor for the next three years,” said Balloon Fiesta board president, Mike Rice. “This event is a crux of the Albuquerque community and Canon’s support over the years has helped our guests create lasting memories.”

With this renewal, Canon will continue to host hands-on activities, allowing attendees to try its wide array of products to bring their experience to life. Attendees will have the opportunity to borrow the latest Canon equipment* from the Main Street booth where they can also sign up for photo walks and use Canon’s interactive photo booth. Canon imaging experts will also be on site to provide educational experiences to help attendees capture once-in-a- lifetime photos and videos.

About Albuquerque International Balloon Fiesta

The Albuquerque International Balloon Fiesta is an annual festival of hot air balloons that takes place every October in Albuquerque, New Mexico, USA. It is the largest gathering of balloons and balloonists in the world. For details on events, schedule, entertainment and photographs visit our website www.balloonfiesta.com and follow us on Twitter @BalloonFiesta and Facebook.

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