Canon News (Page 6)
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Highlighting some just-arriving gear in the B&H Used Department:
| Category | In Stock at the Moment |
|---|---|
| Canon EOS Cameras | R5 II, R7 kit, R8 |
| Canon RF Lenses | 15-35, 24-70, 24-105 F4, 100 macro |
| Sony Alpha Cameras | a7s III, a7 IV, ZV-E1 |
| Sony FE Lenses | 12-24 F2.8, 24-70 F2.8 II, 135 F1.8 |
Remember to use the B&H Payboo payment card to save the tax.
Highlighting some just-arriving gear in the B&H Used Department:
| Category | In Stock at the Moment |
|---|---|
| Canon EOS Cameras | R5, R6 II, R7 kit, R8 kit, R50 kit, R100 |
| Canon RF Lenses | 24-70, 24-105 F4, 24-240, 100-400, 100-500, 200-800, 800 F11 |
| Sony Alpha Cameras | a9 III, a9 II, a1, a7R V, a7 IV, a6700 kit |
| Sony FE Lenses | 16-35 F2.8 II, 24-70 F2.8 II, 70-200 F2.8 II, 100-400, 200-600, 14 F1.8, 50 F1.2, 85 F1.4 II, 135 F1.8 |
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I can't think of anything that saturates the landscape like rain, which, in this case, exaggerated the fall foliage color. Fall foliage arrives during the summer in Denali National Park, but I suppose the meaning supersedes that technicality.
The big ram alone makes a great subject, but the background takes the image to the next level, making it stand out for selection over a vast number of alternative choices.
As often happens these days, the Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS USM Lens made it in the pack, and this combination left no regrets.
A larger version of this image is available here.
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In case you were watching the game and not the sidelines. From Canon USA:
Canon Lenses and Professional Digital Imaging Solutions Support Live Broadcast at the Big Game in New Orleans
Majority* of credentialed photographers utilized Canon equipment, including the EOS R1 mirrorless camera
MELVILLE, N.Y., February 13, 2025 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce that the vast majority* of lenses utilized on the FOX live broadcast for the Big Game between Philadelphia and Kansas City on Sunday were on Canon.
More than 95 percent of the lenses used by FOX during the championship tilt in New Orleans were Canon, including 62 broadcast lenses for the live game broadcast and 29 of the 30 total lenses deployed for the pre and postgame shows.
Canon was also a ubiquitous presence for many of the credentialed photographers at the event, increasing its overall estimated market share of lenses used from 2024, including the extensive utilization of the EOS R1 mirrorless camera.
Canon’s footprint in the Big Easy for the title game included the Canon Professional Services (CPS) team on site to offer photographers technical support, equipment loan opportunities and clean-and-check services. As in years past, the CPS team brought in loaner gear to supplement cameras and lenses owned by Canon professionals, and Canon broadcast lens technicians were also in attendance to provide cleaning and maintenance services for Canon broadcast lenses to help ensure optimal image quality.
For the live broadcast, a total of 16 Canon UJ122x8.2 lenses were deployed in the stadium.* Three of those lenses featured new, on-demand optical units that helped extend the focus range with a fast aperture that provided a shallow depth of field at a distance requiring a BCTV telephoto field lens.
The CJ20ex5B IASE S, a versatile broadcast electronic news-gathering (ENG) camera, was used in the high SkyCam position, capitalizing on its telephoto reach without sacrificing wide-angle capability. Additionally, the C300 Mark III provided high 50-yard line shots.
“We are very proud that Canon’s equipment and service support could contribute to the Big Game, which remains one of the world’s most prestigious sporting events,” said Kiyoshi Oka, executive vice president and general manager for Canon U.S.A., Inc. “Helping to provide the tools for photographers and broadcasters to document such an important moment for the culture is a privilege that means so much to us at Canon, and contributing to the enjoyment that millions of people derive from watching the game is a source of pride for our company.”
For still photographers, the EOS R1 camera – geared toward professionals that brings together Canon’s cutting-edge technology and combines top-class performance with the strong durability and high reliability sought in a flagship model – again played a major role for a signature sporting event.
“With more than 30 years of experience using Canon cameras, I couldn't be more pleased with the quality and reliability of their products, especially the new EOS R1,” said Steve Sanders, Kansas City’s team photographer. “As a professional who relies on all types of Canon gear every day, the versatility and outstanding quality of their equipment make Canon the clear choice for my team.
“Whenever we need assistance, the team at Canon Professional Services is always there for us, whether it’s for a cleaning, a loaner, or a repair,” he added. “The turnaround is so fast that we barely notice the gear is gone. As a professional, I can’t imagine working with any other brand. With Canon’s support, I always feel confident that I can take any project to the next level.”
Added Jamie Squire, Getty Images’ Chief Sports Photographer: “This was the first time using the new Canon R1’s during the Big Game and they performed beautifully. Even in lower lighting, shooting wide open at 2.8, the autofocus was fast and the images were crisp and razor sharp. The built-in ethernet port and transmission technology allowed me to send images to our team of editors and out into the world within moments of the capturing the action. Additionally, the customization of the buttons and controls allowed for a seamless experience while working, especially during a big event like this when there is no time to be messing around. The Canon system and the knowledge of how to use it provided me with the confidence to perform at my best.”
For more information about Canon’s extensive lineup of professional imaging products, please visit www.usa.canon.com/pro.
Get your Canon gear at B&H.
###
* Based on Canon U.S.A., Inc., survey and data, as of February 10, 2025.
Zeiss posted a teaser on their Instagram page, hinting at a new Otus lens.
"Get ready for owlsome news! ZEISS Otus 1.4/85"
Get your Zeiss lenses at B&H.
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In the recently shared Bull Elk Among the Pines image, I suggested that thinking like a landscape photographer should be a top priority, seeing and capturing the environmental wildlife photo option when the right scenario unfolds. Still, I can't resist the in-your-face shot when it is availed.
The Canon EOS R5 Mark II and RF 100-500mm F4.5-7.1 L IS USM Lens teamed for this image. The compact size and light weight of this combination made it ideal for the long hike required to get to this enormous bull, the focal length range enabled fast adjustment to quickly capture a wide range of compositions, and the delivered image quality is outstanding.
A larger version of this image is available here.
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Image quality test results from a second lens are now available in the Canon RF 14-35mm F4 L IS USM Lens Review.
The first lens was tested on the EOS R5, and the second lens was tested on the EOS R5 Mark II, but the camera difference does not influence these results.
Here is the comparison between the two lenses.
Primarily at question were the first lens's 35mm results. The second lens delivered sharper center of the frame results at 35mm, but the periphery results are not quite as good. The first lens was sharper in the periphery at 20, 24, and 28mm.
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Worth browsing: Deals of the Week at B&H.
Tamron shared the Full Year 2024 Financial Results.
The report shows strong numbers and a positive outlook. However, the "Photographics Products (Own-Brand)" increases are not coming from America or Europe.
Highlighting some just-arriving gear in the B&H Used Department. Be the first to check out tonight at 6:45 PM ET to score these deals.
| Category | In Stock at the Moment |
|---|---|
| Canon EOS Cameras | R3, R5, R5 C |
| Canon RF Lenses | 14-35, 24-70, 28-70 F2.8, 70-200 F2.8, 100-400, 100-500, 100 F2.8 Macro, 2x |
| Sony Alpha Cameras | a9 III, a7R V, a7C R, a7C II, a6700 |
| Sony FE Lenses | 24-70 F2.8 II, 28-70 F2, 200-600, 135 F1.8 |
| Really Right Stuff | TVC-34 L Mk2, TVC-24 L, BH-40 with LR, PC-LR Round Panning Clamp with LR |
Just posted: Kondor Blue 501 Arca-Type Pivot Camera Plate Review.
John Reilly shares the solution to his fluid head mounting problem.
Support this site by ordering the Kondor Blue 501 Arca-Type Pivot Camera Plate (or anything else) from B&H | Adorama | Amazon (all available countries)
"Your Ultimate Camera Companion" [Lowepro]
Learn more about the Lowepro ProTactic Lite SLX 120 AW III Sling Bag (Black, 5L) at B&H (in stock, used model available at huge savings).
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Entire careers are made around photographing vehicles, so most of us will not go beyond dabbling in this genre. Still, dabbling is great fun (and could generate a profit if you get good at it).
To get started, you need a vehicle subject. Fortunately, these are plentiful and available nearly everywhere. Find something old, new, special (such as because you own it), or just for sale. The car can be yours, a friend's, a client's, or someone willing to trade car time for pictures.
Next, you need a place to put the car, and the background matters. Even with the car filling the width of the image (with some breathing room on both sides and the bottom), the background (and some foreground) is often a huge percentage of the image. A supportive background will minimally be nondistracting, especially void of strongly contrasting lines intersecting the perimeter of the vehicle that compete for attention. Even if blurred, the background should be void of clashing colors. Mow the grass and remove leaves and other distractions/detractions.
Even small cars are large, so a large space is optimal, and that option is often outdoors, including in yards, parking lots, etc. For inside shoots, find a large garage (including a commercial parking garage), warehouse, airplane hanger, etc.
Clean the car. Of course, one of Bryan's Laws of Photography is that if you wash the car, it will rain. Still, give it a go.
Show love to the wheels and tires as they are the car's soul and have a primary role to play. Tire shine will give the tires a deep, rich, better-than-new look, but understand the penalty. The tire shine I've used holds dirt and makes the tires virtually uncleanable, creating an always-dirty look. The easiest way to get them clean is to replace them.
In some locations and times of the year, insects landing on the vehicle can be problematic, and they seem to be attracted to a clean vehicle. Usually, they are easy to remove in post-processing, but when they start accumulating in greater numbers or land on features that are not easily replaced by the healing or cloning brush tools, chasing them away is a better idea.
Cars (most, at least) are reflective, so consider what is reflecting in the body and windows. A large open space often works well, leaving primarily the sky to reflect. Also, consider using a circular polarizer filter.
Lighting a large subject is challenging. The easiest high-quality lighting is a broad sky immediately after the sun sets or, for those preferring to get started early, before the sun rises. A cloudy day and a low sun at your back also work well. Light painting the exterior at night provides a different look and, potentially, a different look to every image.
Especially if shooting at dawn or dusk, turn on the car lights to add life to the vehicle. Adding a touch of interior light can work well.
Camera selection is easy. Unless the car is in motion, even entry-level cameras can perform this job well.
Lens selection is more critical, but there are many good options depending on the desired look.
The basics always apply, and perspective plays an especially big role for big subjects that are easy to get close to. 2x farther from the camera means 2x smaller in appearance. If the camera is close to the front of the car, the back of the car will be rendered considerably smaller. That size difference is OK if that is the look you want.
Shooting from a high position, such as from a ladder, enables a top view with reduced perspective distortion (and a different looks at the vehicle's shape). Shooting at car level from the front, back, or side and not too close can reduce visible perspective distortion, and moving back is always certain to reduce perspective distortion.
Select the focal length or focal length range that supports the desired perspective and composition within the working space. Select the aperture for thedesired depth of field and background blur.
This BMW image was captured just after sunset on a clear day, with the car strategically positioned to show only sky reflection in the windows. The 85mm f/1.2 combination yielded a strong background blur despite the relatively distant subject. The slightly forward of straight on camera position meant that most of the visible portion of the car was within the plane of sharp focus.
A larger version of this image is available here.
ISO 100
8192 x 5464px
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