Canon Tag

Bear with me. I have been shown a marvellous Canon camera that I cannot fully appreciate - I can only parrot what I've been told. I'm not a video shooter. Indeed the last movie I went to see had Danny Kaye in it and it cost 2/6d to get in. I could even afford a choc bomb without having to take out a loan from the bank. The chief selling feature of the new Canon EOS C 70 seems to be the use of the RF lens mount. These are the Canon lenses intended for their line of mirror-less still cameras ( themselves quite capable in the video line ) and have extremely good performance on the Canon sensors. The literature refers to the format as super 35, though there seem to be a number of choices that users can make about the size and shape of recording field. There is even one that makes a portrait-orientation shot intended for inclusion on smart devices. That's good thinking as so many people use social media sites to show their productions. Okay, the lit....

In the rush to supply cameras that shoot images to a fabulously high ISO we often forget that there is such a thing as an on-camera flash. That is until we try the ISO trick in some place that not only has insufficient light, but suffers from foully mixed colour emperatures and a subject that moves faster than we can cope with. Eventually all the high-tech solutions to seeing are exhausted and we either have to light up the subject or go home. Canon have always made a very popular and capable set of electronic flashes that integrate with their cameras. The latest one - the Speedlite EL-1 is in the Murray Street shop right now. The basic form of the thing is the same as it has always been - large tilting head - electronics and batteries in the bottom - and a multi-contact foot for the hot shoe. With the EL-1 , however I note some new things that I haven't encountered before: a. High-capacity Lithium ion battery for 300+ full power flashes and a full power recharge time of .9...

And that just about describes the last couple of months, eh? I am assuming that you have, like my family, been doing the right thing and hunkering down in the bunker. So far we are safe and cabin fever has not set in. We wait the day of the big breakout, however. So, back to the cameras. And the dilemmas of which, what, how, why, etc. The first thing to do is to consider whether you need to have a dilemma at all. Do you need two lemmas? Would one do? For many of us, it would. One camera. One only - and with one lens on it, too. This may seem a little anti-business for a firm that would like to sell you many cameras, but remember that the founder of Camera Electronic - Ron Frank - was a genius at helping people decide which single camera they needed. He could, and did, ask exactly the right question at exactly the right time. If he could get a clear answer from the client, he could hand them precisely what they needed. If...

No, relax Vasco. I'm not going into competition with you. Good luck with Home Opens in the coming months and the jiggery-pokery of social distancing while trying to sell houses. I do not envy you the job. But I did find some empty space to sell when I took a Canon EOS R out of the display cabinet and fitted a 24-200 mm lens on it. The lens was the pull in the first instance as it looked newish and when I considered that I was looking at a full-frame 24 x 36 sensor camera...

You might be forgiven for thinking that wireless triggers are simple things. So they are when all you wish to do is tell a circuit to close at a distance from the camera. You put a transmitter on the hot shoe of the camera, a receiver under the Speedlight out in the distance, and fire away. As long as the things are plugged in correctly and the AA batteries are fresh, it works every time. When you start to go TTL, however and start to introduce different models of different maker's flashes, the whole thing becomes as complex as a spider's web. Here's a collage of images from the different trigger systems here in the shop on just one day. Beware that not all triggers made are shown - you have miles to go in this forest before you can sleep...

An earlier column mentioned Tamron as a brand name and poked a little gentle fun at the Adaptall system that this company used in the film era. Readers may have gotten the impression that we thought little of the lenses - such is not the case. Camera Electronic and probably tens of thousands of Australians have a keen appreciation of the worth of the Tamron brand and products. It has developed over many items and many decades. Here's an example of what Tamron could do in the analog days  - do for themselves and do for you. It's a 17mm f:3.5 lens with a Nikon AI mount affixed to the back. A similar lens would have been available for most of the major mounts in those days. If its design reminds you a little of Nikon or Tokina remember that the Japanese companies did see people and ideas flow from one to another. Its mount is all metal, as things were in those days, and is sturdy and precise. The lens grind is excellent and the coating does a good job. And...

If you are determined, we can't stop you. Indeed, the best thing that can be done is to reach into the Sigma cabinet and pull out the 14mm f:1.8 DG HSM Art lens and let you put it on your Nikon or Canon. Then you can head out for your architecture, landscape, or astrophotography and we can feel that we've done our best for you. You will not go away lightly - you'll be adding 1120 g to your burden, and if this is out bush to get the landscape or the star view, that's a significant weight. No wonder- the barrel is fully professional and there are 16 elements - three of them aspherical - inside it. You'll be operating the aperture electro-mechanically with either mount and you'll also have an option to add a rear filter if you're using the Canon version. Quite what you can do with a filter arrangement up the front is beyond me - this is a very wide view of the universe for a full-frame camera - and the adaptation you'll need for a graduated...