Canon 5DSR
On the champion’s podium for full-frame cameras with the highest resolution, the highest platform is shared by two cameras: the Canon EOS 5Ds and the Canon EOS 5Ds R. These are actually the same cameras with the same 50-megapixel sensor. But between the two cameras, there is a small difference, which influences the resolution. The Canon 5Ds, which we reviewed previously, has an anti-alias filter, or “low-pass” as Canon calls it. On the 5Ds R, this filter is disabled. In theory, the Canon 5Ds R should be able to render a bit more detail, at the cost of a slightly greater risk of moiré.
Canon celebrated the 25th year anniversary of the EF 50mm f/1.8 II Lens with ... the announcement of its replacement, the Canon EF 50mm f/1.8 STM Lens. The 50mm f/1.8 II was an extremely popular lens, primarily because of its introduction-to-prime-wide aperture and good stopped-down image quality at a very low price. Many had long been waiting for a new 50mm lens from Canon and the 50mm STM Lens appeared to be a significant upgrade while retaining essentially the same ultra-small size and weight. That the new lens remained Canon's lowest-priced definitely produced smiles.
Canon EF 100mm f/2.8L Macro IS II USM Lens
The classic definition of macro photography is that the image projected onto the digital sensor (or film plane) should be the same size as the subject. With a 1:1 ratio, a DSLR with a full-frame chip should be able to produce life-size magnification and focus on an area as small as 24x36mm.
By modern standards, this lens released in 2009 ancient. But like most Canon glass, it holds up spectacularly. Build-wise, it’s lighter than you’d think (although the plastic exterior isn’t as luxurious as you’d want it to be). The image stabilization on a telephoto lens is simply essential if you’re ever taking it off the tripod. Lenses require a certain ratio of shutter speed to focal length (roughly put, you want to double your focal length to find your shutter speed – so a 100mm lens would need to be shot at 1/250th) which seriously gimps their low light potential. But not with this lens. With the hybrid image stabilization, you can get hand-shake free clarity all the way down to 1/8th of a second. With the fast 2.8 aperture and the ISO handling of a full frame camera, that low light potential is enormous.
Canon Speedlite 600EX-RT Flash
Daunting is sitting down at the keyboard to attempt to do justice to a review of Canon's flagship flash, the Speedlite 600EX-RT. Few aspects of an image are as important as the lighting – arguably being second only to the subject and perhaps the composition? Good lighting overcomes so many other issues. With one or many 600EX-RT flashes available for use, you can take control of the lighting. In doing so, this device (singularly or in multiples) has the power to completely transform the quality of your images.
Canon EF 24-105mm f/4L IS USM Lens
Boasting the superb build, mechanical and optical quality found in the Canon L-Series Lenses and a widely used range of focal lengths, the Canon EF 24-105mm f/4L IS USM Lens is one of the best and most popular Canon general purpose lenses made. The 24-105 L Lens quickly became one of my favourite and most-used lenses. If I had only one lens, this would be the one.
STUDIO UMBRELLA LIGHT KITS
There is more to taking photographs than having the best camera, lens, and editing software. Ask any photographer worth his paycheck, whether they shoot people or items or combination of both and they will tell you that it doesn’t matter how good your equipment is, if your lighting setup is not good enough or, and this is common, non-existent; your pictures will be nowhere near the professional standard you are probably hoping for.
Someone once said that photography could be likened to painting using light. This is something that many budding photographers either don’t realize or know only too well but neglect and make lazy mistakes. So what exactly is it you need? Studio umbrella lights for photography.
Speedlite Transmitter ST-E3-RT
The classic definition of macro photography is that the image projected onto the digital sensor (or film plane) should be the same size as the subject. With a 1:1 ratio, a DSLR with a full-frame chip should be able to produce life-size magnification and focus on an area as small as 24x36mm.
By modern standards, this lens released in 2009 ancient. But like most Canon glass, it holds up spectacularly. Build-wise, it’s lighter than you’d think (although the plastic exterior isn’t as luxurious as you’d want it to be). The image stabilization on a telephoto lens is simply essential if you’re ever taking it off the tripod. Lenses require a certain ratio of shutter speed to focal length (roughly put, you want to double your focal length to find your shutter speed – so a 100mm lens would need to be shot at 1/250th) which seriously gimps their low light potential. But not with this lens. With the hybrid image stabilization, you can get hand-shake free clarity all the way down to 1/8th of a second. With the fast 2.8 aperture and the ISO handling of a full frame camera, that low light potential is enormous.
Color Gel Photography
For sophisticated wireless flash setups, there's nothing like the new Speedlite Transmitter ST-E3-RT*. Facilitating radio controlled, two-way wireless transmission up to 98.4 feet, among up to five groups or fifteen individual Speedlites, the ST-E3-RT represents the next generation in wireless flash systems. With operational controls similar to the new Speedlite 600EX-RT, including diverse flash metering options, and a number of flash modes, the Speedlite Transmitter ST-E3-RT makes complex lighting setups simple. With a compact design and highly reliable construction, combined with a clearly laid-out information panel and buttons with back lighting and more, the Speedlite Transmitter ST-E3-RT is an indispensable tool for advanced, professional flash photography.
