The 6D Mark II Will Be Canon’s First Full Frame DSLR with an Articulating LCD

If you’re a Canon photographer and you’ve been longing for a full frame DSLR with an articulating LCD screen, your wait will soon be over. The upcoming Canon 6D Mark II will reportedly be the company’s first camera of that category to offer the flexible display. Canon Rumors reports that a Vari-Angle LCD is a known feature in the upcoming camera now. Other specs/features include Wi-Fi and Bluetooth connectivity, a larger (taller and deeper) form factor than the original 6D, and a new battery grip. The introduction of an articulating screen in Canon’s full frame lineup will likely attract both
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This Canon ‘Live for the Story’ Ad Used Huge Lighting Rigs in a Creative Way

This brilliantly lit commercial for Canon introduces a new campaign that urges the viewer to “Live for the Story”, and rather curiously does not prominently feature a camera at all. The 60-second spot follows the romantic journey of a young boy growing to adulthood, along with all the spontaneous bicycle trips, piano playing, fully clothed swimming and horse-chasing that a full and spirited life involves. Titled ‘Boundaries’, the ad seems intended to re-introduce Canon to a younger audience, perhaps positioning the brand as an alternative to the ubiquitous smartphone as a means for capturing the experiences of life.
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Deal Alert: Get The $380 Canon PIXMA PRO-100 Photo Printer for Just $130

Canon is offering a steep discount on one of its high-end photo printers. For a limited time, you can pick up the PIXMA PRO-100—formerly $380, and originally $500 MSRP—for just $130 after a mail-in rebate. This price simply can’t be beat. We rarely cover deals here at PetaPixel. Really amazing deals are often mistakes—remember those $200 Sony a7Rs?—and many other so-called deals are just cyclical price drops. In other words: nothing special. This Canon printer deal is an exception. From now until the end of May, Canon is offering $250 off their PIXMA PRO-100 photo printer, bringing
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DPP: a free RAW photo editor for Canon users

DPP: the free RAW photo editor for Canon users Canon’s Digital Photo Professional (DPP), which reached version 4 in 2014, continues to be a popular workflow tool for those photographers dedicated to maintaining an all-Canon workflow from capture to print. Recently expanded to 11 video guides, available with pdf notes that extend the information available to photographers, Canon’s Digital Photo Professional (DPP) is a free, and surprisingly powerful, image organising and editing application that ships in the box with every EOS camera. While some photographers have never touched it – some are not even aware it exists – the program is included on the EOS Digital Solution Disk, which
DPP: the free RAW photo editor for Canon users
DPP: the free RAW photo editor for Canon users
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Canon 200mm f/1.8: A Legendary Lens Known as the ‘Eye of Sauron’

If you’d like to get your hands on a legendary Canon lens without having to take out a mortgage, the 200mm f/1.8 may be one to consider. Sometimes referred to as the “Eye of Sauron” — a Lord of the Rings reference — the 200mm f/1.8 only saw 8,000 produced during its run from 1988 through 2004. Compared to the ultra-rare $180,000 1200mm f/5.6L, of which around 12 were made, the 200mm f/1.8 often shows up on the market and a used one can be purchased for around $3,000 to $4,000 these days. Not bad
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First CFast card reader with Thunderbolt 3

First CFast card reader with Thunbderbolt 3 The new SF3 Series – CFast 2.0 Pro Card Reader from Sonnet is an industry’s first: it has a Thunderbolt 3 interface, for fast transfer of data. With the increasing popularity of profession digital cinema cameras from Canon, ARRI and Blackmagic Design, the use of CFast 2.0 memory cards has soared, and the need for a truly high-speed card reader is undeniable. With current CFast 2.0 cards’ rated read speeds near 550 MB/s, it’s clear that USB readers don’t fill that need. Sonnet’s SF3 Series – CFast 2.0 Pro Card Reader does. The SF3 Series – Continue reading "First CFast card reader with Thunderbolt 3"

Breathtaking Timelapse of the Grand Canyon Captures Full Cloud Inversion

This incredible timelapse of the Grand Canyon filling up with clouds is beautiful beyond words. Shot on Canon 5DSR and 5D Mark III cameras, the film captures an extremely rare phenomenon called a full cloud inversion. A full cloud inversion occurs when cold air is trapped by the canyon and topped with a layer of warm air, which combines with moisture and condensation to form a sea of clouds. Sped up in timelapse, it feels as though the red rock of the canyon is jutting up from an ethereal, roiling ocean. The footage was shot as part of the SKYGLOW
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Gallery: PNW Lens Summit 2017

On Saturday, May 13, Koerner Camera hosted the PNW Lens Summit 2017, gathering glass from all over in one place for our viewing pleasure. Lens-test charts were pulled from their overhead rails in all the prep bays, making room for models, handy fresnels for causing flares, and a string of Christmas lights for background bokeh testing. ARRIs, REDs, Canons, a broadcast cam or two, and several Sony A7s hosted a wide variety of spherical and anamorphic primes and zooms: coated, uncoated, and specially modified for interesting flare.
Cooke anamorphic zoom, no added flare
Cooke SF (Special Flare) anamorphic prime
There was one of
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3 Photographers Asked to Turn a Blind Food Tasting Into Photos

Canon Australia has been sharing a series of inspiring experiments through a series called THE LAB. For its latest video, titled “The Menu,” 3 photographers were asked to shoot photos based on a blind tasting of a restaurant’s food. Each of the photographers was blindfolded and asked to eat a dish by chef Clayton Wells of Automata, considered one of the hottest restaurants in Australia at the moment. The photographers were then given time in a studio to turn what they experienced with their mouth into a visual interpretation. Here’s what the 3 photographers ate and then created:

Photographer
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3 Photographers Asked to Turn a Blind Food Tasting Into Photos

Canon Australia has been sharing a series of inspiring experiments through a series called THE LAB. For its latest video, titled “The Menu,” 3 photographers were asked to shoot photos based on a blind tasting of a restaurant’s food. Each of the photographers was blindfolded and asked to eat a dish by chef Clayton Wells of Automata, considered one of the hottest restaurants in Australia at the moment. The photographers were then given time in a studio to turn what they experienced with their mouth into a visual interpretation. Here’s what the 3 photographers ate and then created:

Photographer
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Mark Your Calendars, The Canon 6D Mark II Should Arrive in July – Report

When the Canon 6D was first released in 2012, it was a big deal—a lightweight DLSR that significantly lowered the barrier of entry into the full-frame market. But that was almost 5 years ago, and people are hungry for a Mark II. Fortunately, they won’t have to wait long. According to Canon Rumors, Canon is finally planning to release the 6D Mark II sometime in July, just two short months away. They’re also being told that wait time from announcement to ship date will be relatively short, claiming “you should have your hands on the new camera some time
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iClone & HitFilm, tools in the animator’s tool box

iClone and HitFilm, tools in the animator's tool box The prehistoric animation by Kevin Said was created with a beta version of iClone7 and HitFilm Pro 2017. The new version of iClone will be available June 2017. The new version of iClone, from Reallusion, introduces a series of innovations, giving independent animators and studios more creative possibilities through a range of accessible and increasingly professional animation tools. IClone7 also offers a fully customizable camera system to match the industry standard, so users can accurately simulate real-world cinematography. Compatibility is key with flawless import & export of camera data between 3D and video tracking tools. The Real Camera System in
iClone and HitFilm, tools in the animator's tool box
iClone and HitFilm, tools in the animator's tool box
iClone and HitFilm, tools in the animator's tool box
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Defining “The Cinematic Look”

Many of us talk about “the cinematic look” without defining what it is. Here’s my take. For a Mother’s Day outing, my spouse, in-laws and I went to Filoli, one of the last country estates of the early 20th century and now a private park. The main attraction is the gardens, which are particularly lovely, but the old manor house is open for self-guided tours. I’m not terribly interested in flowers, or manor houses, or self-guided tours, but I love creating images, so I use such trips as an opportunity to transform the sights into images that appeal to
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Remembering the Canon 1D Mk II, The Only Camera That Got Me a Date

I dropped it because I was drunk. It was a brand new Canon EOS-1D Mark II, and I was drunk because I hadn’t eaten any dinner. It fell from hip-height onto the sand-covered floor of a shipping container, which had been converted into a tiki bar at an outdoor music festival. It was 2005 — tiki bars were a thing back then. The camera survived the fall, but the attached 24-70mm F2.8 did not. The lens took most of the impact, and jammed badly and permanently at around 50mm. A sobering (literally) lesson was learned, and in the
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Lenses: My Likes, Dislikes, and the Return of the Cooke Speed Panchro

Every lens has a feel and a purpose. Some reproduce the world perfectly, some imperfectly. They all have their place, but I have come to appreciate “imperfect” over “perfect.” There is a sense in cinematography circles that digital cameras are too “clean.” Common complaints center around the fact that film’s analog nature introduces certain characteristics to an image that sensors don’t. The most obvious is that randomized grain, visible in film, is replaced in the electronic world by noise, which is less random and has a different “feel” altogether. Less obvious is the quirky way the three color
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Canon Announces 70-200mm T4.4 Compact-Servo Zoom: NAB 2017 Video

At NAB 2017, Canon showed off the newest member of their Compact-Servo the 70–200mm. The new compact-servo 70–200mm T4.4 EF lens combines 4K optical performance with a small size. The 70-200mm T4.4 only measures 7.2 in. in length and has a weight of only 2.76 lbs. While not too big or too small of a lens Canon appears to have hit a sweet spot for lens size. Many shooters come from an ENG or Broadcast world where B4 lenses come with the ability to control focus, iris, and zoom (FIZ). Since the DSLR age came along
Compact-Servo
Compact-Servo
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Adding C-Log to Canon 5D MkIV: NAB 2017 Video

At NAB 2017, Canon showed off C-Log for their 5D Mark IV DSLR. Now, this is a paid update to the Canon 5D Mark IV with a cost of $99.00. Owners will also need to send in their Canon 5D Mark IV to the manufacturer to install the update. For my dynamic range, around 12 stops, this seems like not a huge ordeal. In my opinion, it’s cool to see Canon put a feature in the 5D Mark IV that was originally in a much more expensive video camera. In the video below, Canon takes the time to show
Canon 5D
Canon 5D
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This is the Canon 300mm f/1.8 — Yes, Such a Monster Lens Exists

Want to see one of the rarest Canon lenses in existence? Check out the Canon 300mm f/1.8. It’s an extremely huge and heavy lens, and so few exist that you’ll probably never come across one in real life. “The lens is used for photo finishes in horse races,” Emil Wiik Larsen of @canongearnerd tells PetaPixel. “It has an EF mount and weighs a ton.” Due to the fact that it’s a 300mm telephoto lens with a giant aperture of f/1.8, the front element of the lens is a ginormous piece of glass. This particular lens was used
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It Costs a Pro Photog Over $11,000 to Switch from Canon to Sony: Report

The groundbreaking new Sony a9 is one heck of a sports camera, and it’s cheaper than both the Canon 1DX Mark II and the Nikon D5. That must mean it’s financially smart to switch, right? Not so fast… Photographer Dan Bracaglia over at DPReview did an actual cost breakdown that reveals what it would actually cost a pro sports photographer to make the switch from Canon to Sony, and the totals are not encouraging. Bracaglia’s estimate involved a lot of … well … estimating. But it all breaks down to three basic steps. Step 1: Dan compiled the ‘ideal kit’
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