I have been a Canon shooter, using the best Canon cameras available from the day I picked up a camera. First, as a commercial photographer, and in the last few years as a prolific wedding photographer. I think it’s safe to say that I accumulated a few thousand jobs using Canon cameras. I prefer Canon to any other brand for any given task. I feel very comfortable saying that the Canon R5 is the best Canon camera in the market today. But different photographers have different needs. Maybe you don’t need the best Canon camera, but the Canon camera that is best for you.
Canon is gauging interest in reviving some of its most iconic camera models with a modern twist. According to The Federation of Independent Photographers, Canon is conducting market research to find out which classic Canon camera body people want to see reincarnated in digital form.
The four leading contenders for a retro-inspired EOS camera revival are the Canonet QL17, Canon P, Canon F-1, and the highly popular Canon AE-1.
Canon has announced the new full-frame RF 10-20MM F4 L IS STM (buy here) ultra-wide lens for RF mirrorless cameras. Designed for both professionals and serious enthusiasts, the new lens is half the weight of its EF predecessor.
It sports a built-in lens hood, image stabilisation, super quiet STM focus motor, and customisable function buttons. It offers a lot of versatility for genres such as landscape, cityscape, architectural, wedding and event photography.
When Canon introduced the 5.2mm dual fish eye lens for shooting VR 180 video, they didn’t just ‘make a new lens.’ They had to develop an entirely new ecosystem with software capable of processing the huge 8K RAW files and then make sure they were converted to a readable codec for post-processing and editing.
In this article, we will look in depth at what it takes to post-process and edit a VR 180 video that was shot on the Canon EOS R5c ($3,999.00) and dual fish eye lens ($1,999.00). If you’d like to read about preparation for a VR 180 video shoot or how to shoot with the equipment, see the previous two articles in this series.
The Royal Observatory Greenwich Astronomy Photographer of the Year competition has become an annual staple in the lives of many photographers. We all want to see what new views of the universe we’re going to be presented with.
But just as interesting to photographers is the gear used to create it. Fortunately, we’ve got Skies and Scopes here again to give us the rundown. They went through all 828 shortlisted images to see how they were made.
Canon has introduced a game-changer when it comes to shooting VR 180 video (virtual reality). This comes in the shape of its RF 5.2mm dual fish eye lens (staggering $1,999) and is capable of shooting stereoscopically in 3D. Combined with the powerhouse hybrid mirrorless camera body, the Canon EOS R5c (here), the result is incredibly powerful and pretty straightforward to use.
In this article, we will be exploring exactly how to shoot a VR 180 video with this equipment, using a music video as an example. We started this series with an article about preparing for a VR 180 video shoot if you want to learn more.
Canon is leading the field in virtual reality (VR) cameras and systems. With their stereoscopic dual fisheye lens and hybrid mirrorless camera bodies, you can produce high-grade 8K RAW VR videos at a relatively low cost.
It’s all very impressive, but Canon isn’t stopping there. They are pushing the boundaries and offering customers more exciting VR180 cameras and systems for lower prices without skimping on quality. DIYP talked to Mark from Canon to find out more.
Pan Tilt Zoom (PTZ) cameras seem to be the buzzword at IBC 2023, and Canon is firmly playing a part in the game with its CR-N100. DIYP spoke to Matt Koshy from Canon to find out more about these powerful little cameras and why you might want one.
So firstly, who might actually want to use one of these cameras? The higher-end PTZ cameras are aimed at broadcasting. This latest offering is firmly aimed at the corporate, higher education and houses of worship sectors.
Now, here’s how you announce that you’re making cine primes. You don’t tease and drip-feed us every 6-12 months for a few years until the lineup’s complete. You announce the whole lot at once, and that’s what Canon’s just done.
The company has unveiled its new line of RF mount cinema primes (buy here). There are seven in the complete set ranging from 14mm up to 135mm, with all the common focal lengths in between.