Canon explains why EOS R doesn’t have IBIS | Digital Camera World

 
 

When the Canon EOS R was revealed, the first thing many people noticed was its lack of in-body image stabilisation (IBIS). 

The missing feature became even more pronounced at Photokina 2018 with all the new cameras boasting IBIS – including Fuji’s new GFX 100S with its monster medium format sensor.

So, with the internet rife with cynicism and speculation, we went straight to the horse’s mouth and asked Canon why it opted not to include in-body stabilisation on the EOS R.

“We feel that in-lens IS is the optimum system for image stabilisation,” explained Canon UK’s product intelligence consultant, David Parry.

 

The Canon RF 24-105mm f/4L IS USM is one of the EOS R lenses that boasts stabilisation

The Canon RF 24-105mm f/4L IS USM is one of the EOS R lenses that boasts stabilisation

“With an in-body IS system you are creating something that needs to work over lots of different types of lenses and different lens groups, so you don’t get a dedicated system for that particular lens.

“All lenses move in different ways, and you get different types of shake depending on what kind of lens you’re using, so dedicating the IS system to the particular lens is, for us, the optimum way of doing it – but that’s not to say that we aren’t looking at in-body IS.”

It’s fair to say that Canon traditionally takes its time and is rarely the first to bring a feature to market, from touchscreens to shooting video on DSLRs. When it eventually does bring something to market, though, it tends to be among the best in class.

In other words, then, Canon will introduce in-body stabilisation when it’s good and ready. And when it does, it’s likely to be incredibly good.7

Source: Canon explains why EOS R doesn’t have IBIS | Digital Camera World

Shooting OnStage in London | Joe McNally Photo

I shoot a lot in front of live audiences, sometimes sizable ones. The places where I do this, let’s face it, are hardly inspirational. They tend to be gray, or beige, or black. The walls are blank. They recede by design. Hence, onstage, when I look out at this bland space, I will, at least occasionally, think of taking a ride into the valley of the gels, as friend and peerless shooter Greg Heisler used to describe it. In these blank rooms, color is often the first refuge I seek.

It was such a day last week in London, at a lighting seminar created and staged by Nikon School UK and Neil Freeman, a talented shooter who runs the wonderful educational programs with a great team in the UK for Nikon. We had help from the stalwart crew at Lastolite by Manfrotto who stepped up and brought tons of kit to play with.

I had MMA fighter Alfie Davis, who’s on a winning streak, and competing next in Dubai. He’s a great physical presence, so a rim-light type of an approach worked. Put red gels on two SB-5000 units in the back of the room, controlling them with radio and winging them right at Alfie. The overhead light is the Speedlight 2 softbox, with a grid, but it really just lights him a little and gives that highlight in his hair. The main deal is a blue gelled flash I have banging into a silver tri-grip reflector that he is actually standing on. The whole thing was an impromptu wing and a prayer in terms of a lighting solution, and our enthusiastic crowd helped out by standing and cheering Alfie in the background. Nothing like a little audience participation!

It was a very different approach for Alfie out on the street. One Speedlight through an Ezybox hotshoe soft box, and done. Less glitz, more character.

More tk….

Source: Shooting OnStage in London | Joe McNally Photo

Here’s a Reason Not to Upgrade to That New Mirrorless Camera | Fstoppers

One of the most common questions photographers have is “should I upgrade my camera?” It’s right up there with “what lens I should buy” and “can I take selfies with this?” (That last one isn’t actually a common question.)

You may really want that Nikon Z7 or that Canon EOS R, but do you really need it? Whenever I ask myself the same question, I remind myself of a simple phrase that I tell my students thinking about a new camera: Your camera never takes pictures any worse than the day you brought it.

I own a few older cameras. Some I bought for nostalgic value and other were my daily drivers for a time. Over the years, I’ve had a lot of G.A.S., but after having kids, that sort of thing grinds to a halt (diapers are expensive). Now, I’ve learned to really appreciate and use the cameras I’ve got, and in addition, it makes me really think about making every camera purchase count.

I recently got the pang again when I saw the new mirrorless offerings from Nikon and Canon. On paper, they’re specced really well, and one of the new RF mirrorless system lenses from Canon would scratch an itch I’ve been commenting about for a long time: a standard zoom that’s faster than f/2.8, my white whale, the Canon RF 28-70mm f/2L USM. Such a lens coupled with a new, slick-looking EOS R bodyseems like an amazing combo.

Read More: Here’s a Reason Not to Upgrade to That New Mirrorless Camera | Fstoppers

How to Create Flower Fireworks on the 4th of July

How do you create those really soft, flowery fireworks photos?

I am gonna keep this short and sweet! The trick to create these flower-esque firework photos is really simple

  1. Frame your shot
  2. A good starting point for camera settings are 100 iso, 5.6/f, 1 second shutter
  3. Turn your focus ring until completely out of focus. 
  4. Press the shutter button once a firework goes off in your view finder
  5. Turn the focus ring from out-of-focus to in-focus over the course of the 1 second shutter. 
  6. The End! 

I’ve even created this little animated gif to illustrate the process

Benjamin Lehman is a commercial photographer in the Canton, Akron, Cleveland and Northeast Ohio area. 

Barn Storming

Use stormy days to your advantage – get out there and take photos!

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