Used to be, to get a full-frame sensor in a Canon camera, you had to shell out big bucks for a pro rig like the 5D Mark III or 1D X. No longer. Canon’s just unveiled its EOS 6D, the smallest, lightest and cheapest full-frame DSLR it’s ever made. Weighing 690g, the 6D is 20 percent lighter than the 5D Mark III, and at $2,099, it’s a full $1,400 less than its heftier stablemate — which also puts it directly in line with Nikon’s recently released full-frame shooter, the D600. In addition to that mammoth sensor, the 6D’s the first EOS camera to have built-in WiFi. When paired with the company’s free iOS and Android apps, you can use your phone to change the 6D’s settings, take and geotag photos using the live remote function, and even transfer those shots to your handset wirelessly.
There have been plenty of false alarms in recent months, but Canon’s first mirrorless interchangeable lens camera (ILC) is finally here — in fact, we’re holding it in our hands. The EOS M is clearly reminiscent of a point-and-shoot, such as the company’s high-end PowerShot S100. Sure, Canon could have added some of the dedicated controls that its professional user base would demand, but photojournalists aren’t the target here, for a few reasons. Canon’s primary motivation, at least from an official perspective, was to create a camera that serves to bridge the gap between pocketable compacts and full-size DSLRs with a simple user interface designed to educate, not intimidate. Also key, however, was avoiding cannibalization of the company’s low-end and mid-range Digital SLR models, which clearly still have a place in the lineup one tier above this ILC.
Canon touts EOS Rebel T4i with improved video focusing system, EF-S 18-135mm and EF 40mm silent lenses (hands-on)
There wasn’t much reason to upgrade with last year’s T3i, but that’s certainly not the case with the Canon EOS Rebel T4i. This new entry-level DSLR packs a redesigned 18-megapixel APS-C CMOS sensor with brand-new focus capabilities, enabling the camera to use both phase- and contrast-detection autofocus when paired with one of two new STM lenses. The center portion of the sensor uses traditional phase-detection technology, while points nearer to the perimeter aid by recognizing contrast in a scene, enabling a more accurate autofocus technique for both stills and video shooting. On the video front, the new lenses — an EF-S 18-135mm f/3.5-5.6 IS STM for $550 or the EF 40mm f/2.8 STM “pancake” for $200 — allow for much more silent zoom and focusing during video capture, so you don’t need to worry about those sensitive stereo mics picking up mechanical noise. The camera still did a bit of focus hunting while recording video during our hands-on, but autofocus performance was quite impressive while capturing stills, even in low light.
It’s been but half a year since Canon first entered the motion picture market, and the company is already back with its second and third professional video rigs. The Cinema EOS-1D C marks the most drastic departure from the C300, which launched last November at an elaborate Hollywood event at Paramount Studios. It was at this spectacle that we were first introduced to the 1D C, which was then but a glass-protected prototype. Now, far sooner than expected, the (relatively) compact camera is making its return to the spotlight, in more polished form. Like the 1D series bodies that bear similar monikers and appearances, including the yet-to-ship EOS- 1D X, the C model is a very capable still shooter, offering the same core functionality of the $6,800 X. It also brings 4K capture to the table, however, prompting Canon to price the camera far above its less-abled counterpart. At $15,000, we don’t expect to see red C logos popping up in many a photojournalist’s gear bag, but for deep-pocketed professionals with a need to capture 4K clips, this may be a worthwhile acquisition.
Canon unveiled its highly-anticipated EOS 5D Mark III just 10 days ago, but we already have a pre-production sample in-hand, and will be putting it through its paces over the next week. Today’s installment focuses on high-sensitivity still image shooting, which we conducted at Gyeongbokgung Palace in Seoul, South Korea. We chose a dimly lit temple as our test subject, shooting a handful of images at ISO settings ranging from 800 to the camera’s top native sensitivity of 25,600, and extended modes of ISO 51,200 and ISO 102,400. All images were captured at f/8 with a 24-105mm L lens.
As expected, the camera offered excellent performance at all of the native settings — as you can see from the image above, there’s some noise noticeable when viewing an image at full size, though considering the camera’s top resolution of 22.3 megapixels, we hardly see ISO 25,600 being an issue. Jumping beyond the top native range did yield significant noise, but assuming you’re shooting for the web, even these settings are usable. Chances are, you won’t often be examining images at a 1:1 pixel view, so jump past the break to see how each of the four frames represented above will look when scaled to a web-friendly 600-pixels-wide resolution, then hit up our source link to grab full-res JPEGs of each image captured during the shoot.
Canon Japan has posted a number of full-resolution sample photos taken with the Canon EOS 5D Mark III digital SLR camera. There are 15 samples in total, although about half of them are marked as “Coming soon” at present. However, the other eight EOS 5D Mark III sample photos can be enjoyed in their full 22-megapixel glory. The sample pictures were taken at various ISO speeds ranging from ISO 100/21° to ISO 3200/36°, using a variety of Canon L lenses. Additionally there are three EOS 5D Mark III sample movies, each complete with a “making of” video. Note that unlike the stills, the movies have been downsized for the Web.
After spending more than a year being washed around the Pacific Ocean, a Canon EOS 1000D camera and the photographs contained on its SD card have been reunited with its owner.
As you would expect the Canon EOS camera, pictured below, is no longer working. But the SanDisk Extreme III SD card inside of it was able to be washed, and more than 50 images were recovered. With a date stamp suggesting the camera had been in the salty depths for over a year.
The camera was found during a scuba trip by Markus Thompson, who was diving in Deep Bay just outside Vancouver. After publishing some of the images on Google+, Markus was able to track down the Canon EOS 1000D camera’s original owner. A firefighter and his family from British Columbia and reunite them with their photographs and Canon EOS 1000D paperweight.
Image Credit: Markus Thompson
Man, is this thing ugly. But when it comes to cinema cameras, looks are the last thing on a cinematographer’s mind — performance is where it counts, and with the Canon C300, its compact size is an asset as well. We haven’t had a chance to shoot with Canon’s new flagship cinema cam, but we’ve heard from plenty of folks who have, including director Vincent Laforet. The C300′s incredibly compact size allows cinematographers to work in environments that aren’t typically accessible to big rigs — you can shoot with this camera just as easily as you can with a DSLR, hand-holding it for quick shots, with a waist-mounted Steadicam system for walk-around shoots or even mounting it on a small remote-controlled helicopter, as Laforet did during his three-day Mobius shoot.
The C300 will be more familiar to cinematographers — photojournalists may have access to the cam, thanks to its $20,000 price tag (that’s a relative bargain, believe it or not), but you can’t pick this up and fire away without taking some time to learn the interface. It has quite the solid feel, as you’d expect from a camera in this price range, though it’s not as heavy as it looks — you won’t want to hold it in your hand for a full day of filming, but quick shots probably won’t be an issue. The system is modular, so you can add and remove components as you wish — industry standard connectors let you hook up cinema gear, which is something you could never do with the 5D Mark II. The small form factor and price tag to match should help Canon gain some ground in Hollywood, but we’ll wait for a chance to shoot some footage before drawing any firm conclusions. In the meantime, we’ll have to take Laforet at his word — which you’ll find just past the break.
Canon has more on the way from its newly launched EOS Movies lineup than just the C300, as shown by this new prototype DSLR. Promised to be “ideally suited for cinematographic and other digital high-resolution production applications” this camera packs a 35mm full frame image sensor capable of shooting Motion-JPEG encoded 4K video at 24fps. The press pics show it fitted with both EF 50 and new Cine 24 lenses, as Canon looks to blend the success of the 5D MK II with RED-rivaling video capabilities. The director of House shot an episode on that camera already and called it the future, which appears to be arriving sooner rather than later. Check out the press release after the break for the spec breakdown, just don’t expect to hear anything about a name, price, or release date.
Canon C300 makes an appearance in Vincent Laforet’s Mobius, find the short and behind the scenes right here (video)
A New York Times photojournalist turned Hollywood director, Vincent Laforet has become synonymous with DSLR video, after his short film Reverie helped catapult Canon’s 5D Mark II into the world of digital filmmaking. And after playing such a significant role in launching that camera, we certainly weren’t surprised to see Laforet make an appearance at today’s Canon Cinema event, with his short film Mobius getting some time on the big screen. The film follows a photojournalist who stumbles upon a Cartel execution, but it also tells the story of Canon’s tightly-veiled C300 cinema camera, which the company launched just moments ago. Laforet used a pre-production C300 (note the green tape button labels) to shoot Mobius in the Mojave Desert under a variety of harsh conditions, including powerful sunlight and near-darkness, in both extremely hot and chilly temperatures — the camera appears to have performed extremely well, given both the remote shooting environment and tight production schedule.
Canon has yet to reveal the C300′s price tag, which we expect to far undercut the $120,000 Arri Alexa kit, but its sheer portability makes it a more appealing option for filmmakers — especially those with limited time and other resources. Laforet was able to shoot his film with a very small crew, since the C300 can be operated by just one photographer. The director used the camera mounted on a tripod, tethered to a variety of helicopters, sitting on the road and even hand-held, like a camcorder or DSLR. Laforet shot with Canon’s new FK30-300 telephoto cine zoom PL-mount lens, along with a variety of EOS mount lenses, and notes that the camera’s form factor makes it even easier to shoot with than a DSLR like the 5D Mark II. Its cost — somewhere in the range of $20,000 — should also put it within reach of not only Hollywood cinematographers, but also television directors and even documentary filmmakers and news photojournalists. We won’t see the C300 hit the market until late January 2012, so jump past the break for a sneak peak at Mobius to see Canon’s new cinema flagship, along with a rather comprehensive behind-the-scenes video.
Well, we have to hand it to Canon — this was one tight-lipped product launch. The imaging company just unveiled its C300 cinema camera at Hollywood’s Paramount Studios, in front of a crowd of hundreds of journalists and film industry elite, including Martin Scorsese. Canon is no stranger to the professional photography community, but it has yet to make a name for itself in Hollywood, where cameras such as the Arri Alexa and RED EPIC dominate the digital filmmaking world. The C300 may not appear to be overwhelmingly powerful on paper — stock features include an EF or PL mount (not both), 1080p capture, a pair of CF card slots, timecode and HD-SDI output — but judging by the sample films we saw today, its incredibly powerful sensor and versatile form factor are likely to play a more significant role in making this camera a success.
Fujio Mitarai is saying that the camera is especially well-suited to accurate color reproduction, particularly skin tones. We’re also receiving word that the C300 will cost somewhere in the range of $20,000 — how’s that for affordable? It contains a Super 35mm CMOS sensor and delivers up to 4K resolution with the outfit’s new “top-end” EF zoom lenses, which come in four flavors: two 14.5-60mm lenses and two 30-300mm. And the lenses keep on coming, with three EF prime lenses in 24mm, 50mm, and 85mm variations. That CMOS sensor offers 1920 x 1080 pixels for the reds and blues and 1920 x 2160 for greens. Like we said before, list price for the C300 will be $20,000 when it hits stores in late January 2012. And that appears to be it for this very long announcement, but we’ll have our first impressions soon. Full PR awaits you after the break.
Professional photographers know the drill: every few years, Canon or Nikon announces a game-changing DSLR, often prompting top photogs to unload their complete kits and switch to another system in a never-ending attempt to shoot with the best. This time, Canon is first out of the gate, with its flagship EOS-1D X — the latest in a series that dates back to 2001 with the EOS-1D. As you’ve probably noticed, the company’s new top model looks virtually identical to its decade-old ancestor, but is otherwise a far cry from that four megapixel CCD sensor-sporting dinosaur. We’ve been anxiously awaiting an opportunity to check out Canon’s new $6,800 18.1 megapixel full-frame model since first getting word of the beastly camera last week, and just had a chance to go hands-on during the company’s Pro Solutions event in London. Jump past the break for our impressions and a video walkthrough.
Stick a piece of gaffer tape over the unmistakable X, and Canon’s latest EOS-1D pro-level camera will look virtually identical to every 1D model that came before it. But once you flip up the power slider, this new king of the jungle will hum like no other. Canon’s phenomenally powerful EOS-1D X really sounds like the DSLR to rule them all. Its 18 megapixel full-frame sensor uses oversized pixels to battle noise and is supported by a pair of Digic 5+ imaging processors, which also help drive a 61-point high density reticular AF system, a top ISO setting of 204,000 (51,200 native), a 252-zone metering system, a 14 fps JPEG (or 12 fps RAW) burst mode and a built-in wired gigabit LAN connection, for remote shooting and image transfer. The camera’s curious single-letter name represents a trio of industry milestones: the X is the 10th generation Canon professional SLR (dating back to the F1 in the 1970s), it’s a crossover model, filling in for both the 1D Mark IV and 1Ds Mark III (which has been discontinued), and, well, it sounds to be pretty darn “Xtreme.”
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