Canon unveils new professional accessories

Canon has expanded its range of accessories, revealing new models developed to offer a new flexibility and creative control of their professional EOS Digital SLR and medium range.

Topping the range is the Speedlite 600EX-RT, the first Canon flash unit to integrate wireless connectivity by radio that replaces the Speedlite 580EX II Advanced. Together with the new Speedlite Transmitter ST-E3-RT, this new model offers photographers greater opportunities to explore creative lighting techniques. In addition, Canon also launches battery grip BG-E11, which complements the new EOS 5D Mark II - offering greater versatility in various shooting situations with a compact size and easy setup.
Speedlite 600EX-RT - more creativity with flash.

The Speedlite 600EX is an RT-TTL flash unit designed for high performance to meet the growing needs of creative modern photographers. The shooting radio frequency beyond the control of the wireless infrared flash allows photographers to achieve excellent results with complex lighting setups. Using an RT-600EX main flash or the new Speedlite Transmitter ST wireless RF-E3-RT, can be activated 15-600EX flash units RT positioned up to 30m away - offering a great potential for experimenting with lighting techniques and effects more creative. The EOS Speedlite 600EX with a RT-connected can also be activated remotely, allowing photographers to explore extreme shooting angles to produce creative results surprising.

A guide number of 60m [i] and a wide coverage objective of 20 - 200m allows for creative lighting or exposure balanced reasons at different distances. For wide angle shots, a diffuser adapter can also reduce the focal length to 14mm and flash head swiveling and tilting effects creates the most beautiful and without shadows. Ideal for portraits, a panel captures light natural light in the eyes of a subject when you're shooting with indirect flash. Additionally, coverage options provide a customizable flash highest priority to creativity using the guide number to illuminate the subject, while slightly darkens the edges of the frame.

Like its predecessor, the Speedlite 600EX-RT communicating the white balance settings to the camera via the hot shoe connection. However, to balance flash and ambient light, a new filter adapter color and two color gels can be applied to create a more natural when you're shooting with tungsten lighting or mercury. When shooting in dark settings, photographers can also use the AF assist beam for a more accurate auto focus with lenses of 28mm or more, ensuring that the grounds remain in focus when the flash fires.

Designed for professionals, the Speedlite 600EX and the Speedlite Transmitter RT-ST-E3-RT have a rugged and weatherproof, with a crisp LCD screen to make it easy selection of settings and change the flash mode to normal mode wireless. Using four AA/LR6 batteries for added convenience, the Speedlite 600EX-RT offers fast recycling times and quiet, allowing photographers to keep shooting and explore creative lighting effects in all conditions.
WFT-E7 - Control high speed wireless

The WFT-E7 is a new wireless file transmitter for a wide range of EOS models. For those who need to transfer your images quickly and easily as photojournalists and sport photographers, the new WFT-E7 offers increased versatility through the Wi-Fi high speed connection and support for Gigabit Ethernet network cable. Providing support for 802.11a/b/g/n file transfer speeds up to 150Mbps and Bluetooth for connection to external GPS units, the WFT-E7 provides ultra fast transfer of files directly to an FTP server or even a TV with HD DLNA [ii].

When shooting creative or the most difficult conditions require the photographer to control the camera remotely, according to the WFT-WFT Server E7 allows the camera settings and framing the shot in the display are controlled via a web page on any device with access to Internet, such as smartphones, tablets or laptops. The camera settings can also be changed remotely via the EOS Utility, allowing photographers to control and activate the camera by connecting wired or wireless LAN.

WFT-E7 has a lightweight and can be mounted at the bottom of the chamber, the new support AB-E1 or by the handle. For added versatility, it also supports simultaneous shots with up to ten cameras, with the Wireless Sync Time time to ensure that all equipment is aligned with the major equipment to ensure consistency across all units. While firing simultaneously, the WFT server role can also be enabled to allow remote access to the main chamber and the other for greater creative control of the light effects for multi-camera shots.

GP-E2 - geographically Rate your images with the compact and lightweight GPS

Also released today is the GPS receiver GP-E2 - a unit of compact, lightweight and high performance that makes it easy to geographic organization of images. Compatible with the EOS-1D X, EOS 7D [iii] and with the new EOS 5D Mark II, the GP-E2 classifies the pictures according to the data in longitude, latitude and altitude and the direction in which the photo was taken, adding information to the EXIF ​​file.

The Logger GPS function also allows photographers to record your route by downloading GPS data at regular intervals, whether the unit is mounted on the camera body or stored in the pouch. After returning to the studio, photographers can sort your pictures with GPS data recorded and stored on your route files can be viewed using Google Maps or Map Utility software integrated.

For greater accuracy when it is time to record the image, photographers can also synchronize the clocks of their cameras with the atomic clock global UTC discharged through information from the satellite. This function is particularly useful for professional photographers who shoot with multiple bodies EOS 5D Mark II, they may want to process all the images together and classify them according to the time when each was recorded.

BG-E11 - Better handling on EOS 5D Mark II

For photographers who want to shoot for long periods of time with the EOS 5D Mark II, the new ergonomic battery grip BG-E11 doubles the battery life with two additional battery LP-E6, and also allows use AA batteries for an emergency. For those that often shoot vertical, like sports or portrait photographers, the handle provides the AF start button, point of focus and AE lock controls in addition to a second controller and a Multi Control Dial to make vertical shooting more comfortable and intuitive.

Like the EOS 5D Mark II, BG-E11 is constructed of magnesium alloy and offers the same high standard weather protection - ideal for shooting in the harshest conditions.

Speedlite 600EX-RT - main features

    Guide number 60 (m, ISO 100, 200mm)
    Activation radiofrequency 30m
    Using 15 units together
    Functionality wireless infrared
    Remote activation chamber
    Truck with swivel and zoom control
    Filters with white balance correction
    Recycling quickly and quietly

Speedlite Transmitter ST-E3-RT - main features

    Activation of RF remote flash
    Activation of Speedlites 30 meters away
    Control unit 15 to flash
    Remote activation chamber
    Protection against dust and moisture

Wireless File Transmitter WFT-E7 - main features

    Supports IEEE 802.11n
    Integrated Bluetooth
    Versatile
    Easy Wi-Fi Protected
    Transfer to FTP server
    Remote control functions
    Compatible with DLNA media server
    Simultaneous Shots

GPS Receiver GP-E2 - main features

    GPS unit for EOS cameras compatible
    Incorporates data on the location and altitude in the metadata of each file
    Digital records of geographic information
    How to sort by date
    Portable design, use of an AA battery
    Precise definition of time using the UTC

BG-E11 - key features

    Better handling of the EOS 5D Mark II
    Controls on the grip for vertical shots
    Fist higher for larger hands
    Uses two batteries LP-E6 or fourth alternative AA/LR6

READ MORE - Canon unveils new professional accessories

Photographing Newborns

Photographing newborn babies can be equally interesting and challenging for even an experienced photographer. Newborns sleep a lot, do not smile so often, do not sit down or raise the head alone, and do not follow instructions.

The beginners photographers tend to get nervous and anxious immediately. Photographing these little beings requires much practice and patience. But there are things you can do to help your session course quietly.

Photography of newborns is usually the type of event that you only get one chance. The best possible is that the baby should not have more than 20 days old. The younger, the better the photos because they are still very soft and have very heavy sleep. It is therefore necessary that clients feel completely comfortable and trust you. These sessions are one-way street: you go prepared with your ideas, camera, all equipment, etc.. Your client also has a responsibility to help the session to be as much as they can be. I send my clients all the information ahead of schedule and I read again as the day approaches, things like the temperature of the house, the progress of the session and especially the flexibility of working hours of feeding the baby. The latter is usually the reason for a session go right or wrong. If the baby is not fully satisfied will be very difficult to put it into a deep sleep.

I am a photographer working on-location 'and with natural light. Mostly, I go to people's homes and ask me to trust your most valuable asset. Fair enough that I should in order to make everything as smooth as possible. If you have a pile of shoes near the door and both parents are not shoes, take off your shoes! After you finish arranging your equipment, remember to stop and wash your hands before picking up the baby. Small steps demonstrate professionalism and genuine concern.

Many customers write to me and my husband looking for photos of newborns outdoors, something that always makes me very happy. However, many precautions must be taken before accepting this type of work: always try to quiet places and without any interruption whatsoever. This search and site selection should be made days before the pictures, so you will not be walking around with a newborn baby and her worried parents. Keep in mind some options if any of these locations is not available for some reason, things happen. The outdoor photos are made in the shortest time possible, and with double care.

Every area should be inspected prior to the complete absence of hazards such as animals, insects, etc.. The time is extremely important, and the pictures should only be done in time low sun, at the very beginning of the morning or late afternoon, so the clear lenses are of great value. It is impractical, dangerous and unethical to take a newborn baby for the afternoon sun, even with parental consent.

If you do not feel safe to do outside with so young children, be honest and suggest an indoor session. Remember that you were chosen to undertake this work therefore upholds the trust placed in you. Have a nice to take of your newborn photography.

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Some Reasons to Use Canon G1X

Do you have a DSLR and want to exchange for a compact?

Everybody has talked about changing. It's just an increase in the collection of kit equipment, tools, etc. I know I have a good DSLR of Canon T2i with a very good objective that serves me well. But in the fact, sometimes I just do random photos without being spending my DSLR. Every DSLR has a useful life. How not to gain and still photography. I do not feel comfortable giving to my order before the shutter time with pictures that should not give me financial return, I want a compact.

But not any one compact, of course. Both for the reason that I am already quite demanding in terms of quality as the reason that I know that now days there are already several very interesting compact with a level of quality, in terms of image, diaphragm openings and so on. Will, as explicitei in the title, a Canon G1X. Why, indeed, the whys, I'm going to tell them.
1st reason: It's small and lightweight.

I have major problems with the size of my camera and it is very annoying to go. For example a site like Catimbau Valley and stay with it's back or slung over it's shoulder, even if only with the 50mm and flash attached on top. No flash is much lighter, but still annoying to go in hand, because although a bit heavier than G1X. It's anatomy has not been made to carry back and forth without stopping several times to be raised and used. Holding always down to just under the toes with the weight.

So do not pick up a bridge camera-type. For this reason did not dare to take a camera and a Sony NEX-5 with a 18-55 lens somewhat disproportionate to the body.

OK, but why not take a compact type over a compact simple / humble?

Other reason is control

Self-respecting photographer who seeks to have a modicum of control when you click an event, a test or in casual clicks. If you do not like the typical photographer who claims that your camera is bad, your camera "is not up to snuff" or "it's pretty hard to hit well in the photos at night / fireworks / with the person moving / other reason. "

I speak not have full manual mode (although G1X, as well as the Canon G12 and other compact type have), but a modicum of control is always far better than clicking a point-and-shoot that only lets you to zoom. If you want to do something more "increased" as regular EV has to access the camera menu and find where is this feature. It is clear that the vast majority of people get tired before you find what you want, if it finds .

Yeah, but I also have a bridge control, and a great zoom, or even a micro four thirds (eg from Panasonic G series) or a top compact Nikon ...

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ISO and gain in digital cameras

At the time the film had an unshakable truth. The higher the silver grains were placed in the film, the greater its sensitivity to light and would lower its image quality. The reverse was true, the smaller the grains, the lower the sensitivity to light, but higher image quality.

It is easy to understand, a small silver grain graphite is like a fine to the designer. Lets you draw details, since a thick graphite or heavy grain of silver does not allow this detail. However, it is easy to understand that a larger grain is better able to retain a view of the smaller grain, hence increasing the sensitivity.

As you can see the thing was simple, large grain, grainy and easily with low-light situations were the films of ISO 800, 1600 and 3200. Fine-grained, detailed image without grains but low sensitivity were the films ISO 50, 100, 200.

There were tricks that allowed laboratory using an ISO 400 film and reveal, so it worked more or less like a movie ISO 800 or more was pulled from the film. Nowadays, few people even know what it was, but believe there was and was easy to do. A higher concentration of a chemical, or leave the chemist more time acting on the film has already solved this kind of situation.

At that time, a camera, a camcorder as a Super8, a movie camera Super35mm, all worked the same way as movies and these films had ISO (then called ASA but the values ​​were the same)

Today you can push a button, get in there and change a menu setting to ISO 100 to 6400 from one photo to another smoothly with the film you had to make a movie and put another, not now, press a button.

But how can you change the light sensitivity to the pixels inside the camera are the same? If they remain the same size in the same place and receive no different chemical treatments, how is it possible?

In fact, the ISO is a digital fixed and neither should be called ISO. It has a particular ability to absorb light, which is converted into an electrical signal which is converted into a digital signal. We have a file with the image at the end of the line, but we're not talking about ISO, the silver grains or anything . This whole process is done so that the end result resembles in light of what existed in the film, hence the analogy with the ISO.

The use of the term to call the ISO sensitivity of cameras was an error of camera manufacturers. This was done to make life easier for photographers as they were accustomed to films, but it is a mistake.

In the video world, there in the '80s, popularized when the VHS and Betamax. The video cameras were not ISO. Digital video turned, left the film, tapes are digital media . It realized that there was no parallel between film and digital in a digital environment was the electrical signal and the gain.

The video cameras for increasing the sensitivity has a gain command invoked. The gain is applied in decibel (dB) in case +6 dB is equivalent to an increase in ISO point, +12 dB are two points and so on. There are intermediate values, and +3 dB increase is equivalent to half a point of exposure.

This makes sense because the gain is applied in the same way that the increase in volume in a radio: a signal amplifier. And what was placed in video cameras is a amplifier signal. It stopped using the term and began using ISO gain.

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Canon introduces II EF 24-70mm, 24mm f/2.8 IS USM and 28mm f/2.8 IS USM

Canon just add to your renowned series of EF three new models for professional photographers and enthusiasts. The new professional zoom lens EF 24-70mm f/2.8L II USM is an update of the EF 24-70mm f/2.8L USM, while the new EF 24mm f/2.8 IS USM and EF 28mm f/2.8 IS USM are wide-angle lens on the 1st of the world to integrate Image Stabilizer (IS) lens. All three models offer high levels of performance for digital photographers modern, combining premium image quality designs with durable and easy to use.
EF 24-70mm f/2.8L II USM: zoom lens for high performance

The new EF 24-70mm f/2.8L II USM incorporates a completely redesigned to provide optical brightness, image quality and durability awesome. The compact design makes it ideal for any optical shutter and a number of improvements offer improved performance - capturing greater detail across the frame while reducing the distortion throughout the zoom range, particularly a maximum focal length of 70mm.

With a redesigned optical system that incorporates two aspherical Ultra-low Dispersion (UD) and a Super UD element to minimize chromatic aberration and color blur, the lens delivers sharp images with high contrast and consistently. Each element has Optimised Super Spectra coatings to reduce flare and ghosting and ensure excellent color balance. Additionally, a coating fluorite minimizes the amount of dust, dirt or fingerprints, often present on the front and rear lens, helping to maintain picture quality.

The EF 24-70mm f/2.8L II USM also allows you to capture your subjects closer with a minimum focusing distance of 0.38 m at all focal lengths throughout the zoom range. A ring USM (Ultrasonic Motor) works in conjunction with a high performance CPU and AF advanced algorithms to ensure an accurate auto focus, silent and highly reliable. For those who prefer to have total control on every shot, manual focus lets you adjust or change the precise focus of your shot at any time, even when AF is active.

READ MORE - Canon introduces II EF 24-70mm, 24mm f/2.8 IS USM and 28mm f/2.8 IS USM

Nikon D800 - Get the big picture

Nikon announced a new D-SLR FX format professional 36.3 megapixel innovative Nikon D800. Designed to meet the needs of today's photography and video of tomorrow's masterful Nikon D800 is packed with new levels of technology that presents unprecedented depth and detail in photography, offering all the flexibility required to capture video of broadcast quality.

Firmly establishing a proper level, the Nikon D800 offers a potential image that rivals medium format cameras, but with all the agility of the format D-SLR - offering the freedom to create monumental images for professionals who require attention to detail.

A debut in the industry, this release includes an exciting special edition of the D800 - Nikon D800E. With a modified optical filter, the D800E offers a unique alternative to all those seeking maximum quality setting.

Dirk Jasper, Manager Professional Products, Nikon Europe said: "The Nikon D800 is the ultimate D-SLR full screen with significant ramifications for the future of imaging and video. The stunning resolution of 36.3 megapixels get details like never before and the video options will captivate comprehensive video creators of all disciplines. " He added: "We're really excited about what the D800 mean for anyone seriously interested in telling stories through images, movies or both."

The big picture

The CMOS sensor (full screen) format 36.3 megapixel FX incorporates innovative core technology that enables unprecedented levels of detail and tonal range.

Reading 12 channels A / D conversion and 14-bit signal / noise ratio: provides images of outstanding quality with low noise and wide dynamic range.
ISO wide, providing a range of ISO 100-6400, expandable to 25600 (equivalent) and to a minimum of 50 (equivalent), the D800 will establish a new benchmark for D-SLR with this level of resolution. The noise reduction systems generate intelligent camera noise without sacrificing the small details, allowing exceptional flexibility in all lighting conditions, images are crisp and clear, even at higher ISO settings.
Maximum Performance

Equipped with engine 3 EXPEED image processing Nikon's next generation, the D800 easily perform tasks demanding in terms of data without sacrificing speed and quality that professionals are accustomed.

Image processing of 16 bits, which offers richer colors and shades than ever, this cutting-edge image processor provides smooth gradations in tone and detail abundant throughout the range up to pure white, even shooting in JPEG format.

READ MORE - Nikon D800 - Get the big picture

Child Photography - The essence of a good photo

Specializing in child photography has brought me great achievements in a short time, within the professional photography market. Today, we see how many photographers suddenly appeared on the market. Since the self dictated by those who have dedicated themselves to advanced vocational courses. And I believe that soon the market will self regulate and only those with a differential will keep this market is very competitive!

When I decided to photograph children, what really caught my attention was the possibility of immortalizing (perpetuate) the purity of their souls and the genuineness of their actions in the face of any situation. The children themselves are true, sincere and pure ... and we adults have much to learn from them.

Well, after deciding to work with children, I realized that the market was in need of professionals that focus exclusively in this niche market - the photography of children. And this time, I realized the great opportunity I had in hand, to build a career focused and objective.

In my short journey to photograph children, I learned some lessons that I share with you, and that has helped me gain a good market position.

The first is the focus
Focus on why, when you're new to the market and we want to show our work, you will see a little of everything and many times not to lose the opportunity, want to accept any work in any condition to show how we are "workhorse ". From the moment that I majored in PHOTOGRAPHY CHILD focused all my work and disseminate it, to bring me more clients in this niche. Learn to say no to jobs that do not match my proposal was the first step to position myself. Being steadfast in my goals and act to win the public who want to achieve is essential.

Coherence between Product Price x

You know how much you struggled to enter this market. Studies, very high investments in better equipment, hours in front of computer imaging, and all research that involves a new business. Yes, you should view this as your business! So it's time to set your price, more people consider you a beginner and should charge very cheap in order to get any work, is consistent with the product you deliver. It does not cover less than you are able to produce and even more than you can deliver! Do not increase your liability if you do not feel safe, but do not auction covering the competitor's offer just to get the job. Be consistent, build a portfolio of client based on his work, and your product. Show the value of it and not be insecure if you had 10 budgets but closed only one! That one which ended with you is more important, because you chose to photograph a important moment of his life.

Record what your heart feels and not only what the eyes see

I think that is the most important lesson was .. A good photographer takes with sensitivity. Sensitivity to this record than meets the eye. Record the time of starting a family during pregnancy, the baby in the belly, the birth of this child, the first tooth, the first steps, palminhas hitting, playing brothers ... Everything that happens in the depths of these families, they open for you, with confidence and expectations for you to record what they live better: LOVE.

So I believe that the more surrounded by good feelings, good energy and good company, we photographers children are, the more we will be able to see the best in people and that will be captured and shown in a natural way in our work.

Surrender to the child

Sit on the floor, lie on the grass, make a move "radical" and SHOOT! Children should be photographed up close, at the height of your eyes, your smile line. They will "talk" with you (even the little babies!) If you are on the same line that they .. and not when it is all they can see are your knees (enrugados!) and thin shins!

Tune in to the parents

After all, you will be entering the family home, in their bedroom and babies and this is an extremely intimate relationship! Introduce yourself before the session, select a coffee, go to them, learn about the environment, the closet, ask what music they like to hear, which rides like to do. Intimacy is essential for you to have time for spontaneous shooting.

When I read this sentence I immediately identified: "There is no secret in photography of people, except intimade" (William Allard)

READ MORE - Child Photography - The essence of a good photo

Know what is focal length

The focal length of a lens is very important in photographic composition, this determines the area of a scene that the camera can "see" when looking at the viewfinder when taking a picture.

In all lenses, there is a number that indicates the focal length. A low number, always measured in mm, indicating a short focal-length lens. Known as a wide-angle, this type of lens allows a wide field of view. The wide angle is ideal for landscapes, landscapes, architecture and large groups of people.

Since the lenses with focal grid are called telephoto lenses. These provide a narrow field of vision, bringing it closer to the subject. It's great for when you want to see a theme, like an athlete in a stadium or a wild animal with the highest magnification possible, but you can not approach.

In practice enough to know that the longer focal length, the more the lens approaches the subject.

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Know the camera components and operation

Many people find difficult to understand what are inside of a camera. Frankly I also think something magical, with just one click you record a scene and save that image forever.

But not only the "magic" that live picture there are important and basic components that all cameras have (no matter whether they are analog, digital, simple or complicated ...) these make it all happen, and knowing them will be much easier to control your equipment.

Let's follow the path that light travels upon entering the camera.

- Camera body: where are the sensor, the shutter button, the display and all fittings (for objects, flash and cables).

- Objective: It is nothing more nor less than the soul of the camera. Through the passage of light through the whole lens, light rays are oriented in an orderly manner to sensitize the photographic film, or sensor, and form the image!

- Diaphragm: The diaphragm is a photo frame that lies within all objectives, it has the role of controlling the amount of light passing through it.

- Shutter is a mechanical device that controls the amount of light hitting the sensor through a "curtain". When pressing the shutter, the shutter allows light to pass through and be captured by the digital sensor or film, for an adjustable time. The longer, more light will reach the sensitive element.

- Display: is the only part of the camera that we are responsible for the magic, lets you see the scene that we shoot, and varies with the type of camera. If we speak of an SLR, the viewfinder is a small window in which, through a series of lenses and mirrors placed strategically can see the scene exactly as it will be photographed, because the light rays are derived directly from the objective. In consumer cameras, and some SLR's LiveView mode, in which the sensor is responsible for the shot and show us in real time, the image on the camera LCD.

- Sensor: The sensor, as well as photographic film, is the place where it directs all the light collected by the lens, where light-sensitive pixels capture the scene.
How does an SLR camera

The operation of the cameras is very interesting.

Light rays pass through the objective, reflected in the movable mirror 45 - that lies behind the lens - and are reflected in a mirror pentaprism block by 2 points. The last block takes the mirror image to the display. The focus is formed on a screen unpolished, located in a horizontal position between the movable mirror and pentaprism block. This screen is positioned at the same distance from the sensor.

When pressed the trigger, a set of mechanisms moving in complete synchrony. The diaphragm closes the position pre-selected or calculated by the processor, if the camera is in automatic mode, the movable mirror rises, closing the passage of light to the display (so that there is a dimming of the display at the moment) and the shutter open during the preset time or calculated by the processor.

After completing the exposure, everything returns to the starting position!

The figure illustrates the operation of an SLR:

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Know more about Aperture

The aperture is a major factor in photography. It affects not only exposure but also influence the sharpness of an image.

Aperture is the diameter of the diaphragm inside the lens. The larger, more amount of light reach the sensor surface at a given time.

The various openings are known as f / f or point / numbers that are arranged in a numerical series, whose default sequence are: f/1.4, f / 2, f/2.8, f / 4, f/5.6, f / 8, f / 11, f/16, f/22 ef/32.

On this scale, each number has a different size opening, and as we move from one number to the next means that we are doubling or halving the amount of light reaching the sensor film.

Many cameras offer intermediate labels 1 / 2 or 1 / 3 point for a more finely tuned adjustment of exposure. Just to name a few examples: f/9.5 between f / 8 ef/11; between f/4.5 f / 4 and f/5.6.

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