Our cameras have been updated, so keep an eye out for our views on the changes – I’ll be trying out the uncompressed video out with an Atomos Ninja 2 this week, just to see what it’s like. Having used it with an EOS-1Dc while on safari in Kenya recently, it really did help the workflow.

Stay tuned for more!

Follow this link to download the firmware update.

I attended the Advanced Speedlite workshop and I have to say that Brian is a rare breed as an instructor and photographer. Brian’s technical knowledge and his ability to provide you with an answer to any question that you may have far surpasses anything I have encountered on my photographic journey.

Brian managed to break down off- camera flash for me into manageable concepts and has given me the building blocks for a firm foundation in this area. I have been inspired by the Speedlite course and very much look forward to trying out new techniques.

Brian’s expertise, patience and knowledge and his passion for educational workshops and art truly shows. You would be hard pressed to find someone with as much integrity and knowledge to help you on your photographic journey.

The advanced Speedlite workshop focusses on using off-camera flash controlled from an on-camera flash. Some participants used a Speedlite 580EX II  as the master, Peter used the built-in Speedlite transmitter on an EOS 7D. We set the Speedlite 600EX-RT flashes to work as pulsed light controlled slaves, and even buried in a softbox they could still “see the signals” and works as directed.

Peter was also kind enough to share a few photos that he took during the workshop of the lovely model Meg O’Duffy, you have to love the wonderful curly hair she has.

©Peter Michael Dedes, Meg O’Duffy photographed at EOS Network Speedlite workshop

©Peter Michael Dedes, Meg O’Duffy photographed at EOS Network Speedlite workshop

©Peter Michael Dedes, Meg O’Duffy photographed at EOS Network Speedlite workshop

Lighting workshop in Birmingham…

We’re in the final stages of planning for a full day lighting workshop with Andy Kruczek in Wednesbury, West Midlands later in June.

Given that several vendors of external video recording devices were showing their products recording from EOS 5D Mark III cameras at the NAB show in Las Vegas recently, it’s not a surprise to see the official date being on target.

This update was pre-announced in October 2012

It was way back  in October last year when this fimrware update was “pre-announced”. Key updates expected in the firmware are the clean HDMI output, and autofocus with f/8 aperture lenses.

Here at EOS Network we’ll be happy to get more improvements for our EOS 5D Mark III cameras, especially ones for free

Spot AF is designed for tricky situations where you want to be absolutely certain about which part of the image you are focusing on. I know the answer to this is “all the time” but there are some times where it is more crucial than others. The reason for this is due to how AF systems work. If you imagine the AF point you see through the viewfinder is actually a cross “+”, then what you need to remember in normal single point AF is that the cross is larger than the AF point you see, so the edges stick out beyond the square visible in the viewfinder.

Most of the time, this is not an issue, but when shooting portraits for example, it could cause a problem – one of the tails of the “+” may ‘see’ more contrast off to the edge of the AF point, so while you have placed the point directly over the eye of your subject, perhaps the eyebrow or the ear provides a better AF target, causing the focus to shift forwards or back from where you want it. This is especially obvious when working with shallow depth-of-field, where any focus shift is more obvious.

An ideal candidate for Spot AF to ensure you focus on the lion’s eye rather than the high contrast grass in front of his face.

The solution is Spot AF. In spot AF, the tails of the “+” are barely any larger than the AF point you see in the viewfinder, so you can be sure that where you put the AF point is where the camera will be focusing. It’s not just human portraits this is useful for – take this lion portrait. There is long grass in front of the lion’s face, and it is lit by the sun so there is good contrast. It could easily fool an AF system in single point AF, but with Spot AF, it is possible to focus on the eye, between the stems of grass, so the focus point is precisely on the eye.

The usual follow-on question is “why don’t I just use Spot AF all the time?” And it is a very logical question. The answer though, is quite simple. By using a smaller area of AF, the AF speed is reduced so it does not cope well with moving subjects. Equally, in low light conditions, you will find Spot AF can be sluggish to respond.

Do you, or have you used Spot Af? If so, how did you get on with it? Was it useful or did you struggle?

Unfortunately, flying these days has become a bit of a lottery and the airlines are continually cutting back on how much kit you’re allowed as hand luggage. If you’re anything like me, then 8kg just isn’t going to do it for your camera kit, so you need another solution….or you need to wing it! When packing my cameras, I tend to separate kit into two piles – that which can go into the hold, and that which can’t. The ‘can’t go into the hold’ pile is the things that I absolutely need to have when I get where I’m going, or that which I feel is too expensive to risk loss or damage. So far so good, except even breaking kit down this way, 8kg still won’t do it for most trips.

Take my most recent safari trip to Kenya just the other week. The kit list was as follows:

EOS-1Dc
EOS 5D Mark III
EF16-35mm f/2.8L USM
EF24-105mm f/4L IS USM
EF85mm f/1.8 USM
EF1.4xII Extender
EF400mm f/2.8L II IS USM
Speedlite 600EX-RT and OC-E3 flash cable
Atomos Ninja 2 with 2x SanDisk SSDs in caddies
c.500GB of CF, SD and microSD card storage
GoPro Hero 3
Manfrotto SuperClamp
Manfrotto fluid video head
Gitzo tripod
Gorillapod Hybrid
Aviator travel jib
80cm 5-in-1 reflector
Glidegear DNA 5050 glidecam
Lee Filter kit (hard and soft grads, holder and 105mm circ polariser)
ioShutter Cable N3
2x LP-E4N and 3x LP-E6 batteries
Assorted chargers and cables
Apple MacBook Pro 15inch
Apple iPad

Somehow, I needed to get this onto the plane. If you break it down into the highly breakable items, you still end up at around 19kg – a shed load more than I was supposed to have. I packed all that I could into a Think Tank Photo Airport International and weighed it – 21kg. Mmmmmm. The rest went into a large and medium F-stop gear Pro ICU to then be put into my hold bag so there was at least some padding.

On arrival at the airport, there are two options – either act like there is no problem with weight (if you have a shoulder bag, sling it on one shoulder and act like it weighs nothing) this used to work all the time, but more and more, I am finding check-in staff are weighing bags as a matter of course. Alternatively, the advantage of the roller bag is that it doesn’t look big and staff often assume it’s just a standard roll-on bag and can’t be that heavy.

Sadly, it was not my lucky day – the check-in guy asked to weigh my hand luggage – he’d not even seen it so he wasn’t just picking on me, it was part of his routine. I put the bag on the scales and his eyebrows raised almost to his hairline. I explained it was cameras and a laptop, and then opened the bag to show him. It wasn’t going to work, so I went to plan B. A photographer’s vest.

These things are generally horrible. But they serve a purpose – in my case, the purpose is getting things on the plane. I started unloading the bag – camera in one pocket, flash in another, lenses in a couple of other pockets, iPad in another. I then took out the EOS-1Dc attached to the 400mm and hung it off my shoulder. The bag was down to 10kg. The check-in agent smiled, said that was fine and asked me to at least keep it like that until I got to the plane. I duly agreed, went through security onto the plane and repacked my bag before putting it into the overhead locker. Simple.

The moral of the story, wing it, but have a backup plan. While you may have many negative feelings about a photographer vest, when needs must, you will be only too happy to have it.

As an addition to this, in terms of hand-luggage allowance, currently I believe BA and EasyJet are among the best – BA allow up to 20kg and EasyJet is unlimited weight provided you can lift it into the overhead bin – both, of course, provided the size is not bigger than standard.

Canon XA25 & XA20

The key update for the new XA20 and XA25 is the 1/2.84-type HD CMOS Pro sensor with 2.91 Megapixels. With an increased sensor size, so the individual pixels are larger giving the camera even better low-light performance and dynamic range.

The 20x zoom lens leverages optical technology from the top of the range XF305 camera, and the electro-magnetic diaphragm from the companies EF lenses to provide a 26.8 to 576mm zoom with an eight blade iris. For the XA20 and XA25 the aperture ranges from f/1.8 to f/2.8 as the lens zooms over it’s 20x range.

XA20 with top handle removed

XA25 and XA20 provide professional level audio connectivity with XLR connections present on the removable top handle. Removing the top handle makes the cameras much more compact for shooting situations where space is limited.

XA25 features HD-SDI connectivity

The XA25 adds HD-SDI connectivity to allow video to be captured on an external recorder, often essential for broadcast applications.

All three camcorders features twin SD / SDXC card slots with relay recording to allow extended continuous recording times.

WiFi connectivity

With dual-band WiFi (2.4GHz & 5GHz) each camera has a range of capabilities either during filming or after. It’s possible to control the camera settings from a simple web browser using the Camera Remote function. The Remote Browser feature ensures that recorded footage can be readily reviewed on on a smartphone or tablet device without the need for special playback applications.

FTP File Transfer built-in to the cameras allows users to transfer footage to FTP servers at up to 150Mbps via a wireless access point. iOS devices can directly upload movies to YouTube or Facebook using Canon’s Movie Uploader app. Playback of footage on the camera to DLNA devices is also possible over a WiFi connection – great for cable-free connectivity to playback footage on a TV.

Canon XA25, XA20 & Legria HF G30 camcorders - press release

Canon expands creative possibilities with new XA25, XA20, LEGRIA HF G30 camcorders

United Kingdom, Republic of Ireland 3 April 2013 – Canon has today expanded its handheld video camera range with the launch of three class-leading compact models for professionals and video enthusiasts. Two new professional X-series models, XA25 and XA20, combine a powerful, all-new imaging system with professional audio and Wi-Fi connectivity in a versatile, compact package that fits neatly in the palm of a hand. The new LEGRIA HF G30 benefits from the same advanced imaging system in a package optimised for enthusiast videographers, such as hobbyists or film students.

XA25 XA20 LEGRIA HF G30

Developed using Canon’s industry-leading imaging technologies, these models include a powerful specification that delivers outstanding quality and operability. The Canon HD Video system has been completely redesigned – from the lens through to the image sensor and processor – providing new levels of imaging performance. A range of advanced shooting features and connectivity options make these cameras ideal for either professional or amateur use, and are suitable for shooting everything from news and documentaries to weddings.

XA25

XA20

LEGRIA HF G30

Advanced Canon HD video system, first-class optics

The XA25, XA20 and LEGRIA HF G30 all benefit from a completely new imaging system, which has been engineered to provide outstanding image quality and versatility. A ground-breaking 20x zoom wide-angle lens offers a 26.8–576mm focal range [1], employing optical technology found in Canon’s top-of-the-range XF305 camcorder. An enhanced 3-mode Optical Image Stabilizer (IS) system [2] incorporates a Dynamic OIS mode to further reduce the effects of camera movement during shooting. The 8-blade circular aperture also provides enhanced ‘bokeh’, using Canon’s unique Electro Magnetic Diaphragm technology – developed for the company’s EF lens range – to ensure beautiful background blur in shots with a shallow depth of field.

A newly-designed 1/2.84-type 2.91 Megapixel HD CMOS Pro sensor provides outstanding dynamic range and low-light performance. The increased sensor size maximises photosite area, combining with a highly sophisticated image processing system to reduce image noise and increase sensitivity in low light environments.

The outstanding processing capability provided by DIGIC DV 4 provides enhanced image reproduction, supplementing the strengths of the DIGIC DV family – such as smooth gradation and faithful colour reproduction – with support for recording at higher data rates. The sensor and processor work together to eliminate more camera shake, augmenting a highly-effective optical IS system with electronic stabilisation that detects and compensates for movement in a larger number of directions.

Complete creative control

Designed to provide maximum flexibility, all the new models support multiple recording formats. AVCHD (up to 28Mbps) and MP4 (up to 35Mbps) provide high bitrates suitable for many professional applications. Video is recorded to dual SD [3] card slots in a range of resolutions and frame rates up to 1080/50p, with slow and fast motion options supported in MP4 mode – providing greater freedom to choose an appropriate setting according to creative requirements.

All models also support simultaneous recording of different formats to each card – giving users the ability to capture high-quality Full HD footage in the desired format, and smaller MP4 files at the same time [4]. Delivered by the power of DIGIC DV 4, the smaller files can be shared more quickly and easily for time-critical applications, such as reporting breaking news, whilst the high-quality copies are retained for later use.

Professionally-optimised features

The XA25 and XA20 feature the same removable handle concept launched with the popular Canon XA10. Easily attached or removed to suit the shooting situation, the top-mounted handle houses a range of additional controls, including XLR inputs for capturing professional quality audio from external microphones. The handle also integrates an IR lamp to enhance the shooting capabilities of the infrared mode available in XA25 and XA20 – ideal for recording night-time documentaries or nocturnal wildlife.

All three models offer a compact, ergonomically designed body that offers outstanding handling and control during use. A new 8.77cm (3.5”) 1.23million-dot Organic LED (OLED) touch screen panel provides greater resolution, contrast and improved colour reproduction during recording and playback. Users have full manual control over exposure: a combination of the touch screen and a customisable control dial allows for adjustment of aperture, shutter speed, iris, gain and exposure.

Zoom or focus can be adjusted via a switchable ring at the front of the camera lens. Additionally, a new zoom rocker integrated into the camera body is ideal for shooting when handheld or tripod mounted, offering the fine control and convenience typically found on larger professional cameras. An improved 1.56 million-dot 0.61cm (0.24”) electronic viewfinder (EVF) can be tilted up to approximately 45°, providing outstanding detail and comfort for effective handheld or tripod shooting.

Studio connectivity and wireless support

The new XA25, XA20 and LEGRIA HF G30 offer an advanced selection of interfaces, with physical inputs conveniently grouped together and designed to keep connections in place during handheld use. All include integrated HDMI, microphone, USB and headphone terminals, while the XA25 also includes HD-SDI output – offering the high capacity, uncompressed connectivity useful for many broadcast applications.

Each camera also features newly-integrated dual band Wi-Fi support (2.4GHz and 5GHz), providing a range of capabilities for use during or after shooting. Camera Remote support allows wireless adjustment of settings via a web browser [5], and Remote Browser allows users to review recorded footage from the camera in smartphone or tablet browsers – with no need for playback software.

FTP File Transfer allows users to transfer footage to FTP servers at up to 150Mbps via a wireless access point, and with Media Server, Wi-Fi can be used to play back videos stored on a camera on supported TVs or computers, without the need for cables . Direct movie uploading is also supported for iOS devices using Canon’s Movie Uploader application, allowing the upload of videos directly to YouTube or Facebook at bitrates of up to 24Mbps.

XA25 – key features:

• 26.8mm, f/1.8-2.8 lens, 20x zoom, Dynamic OIS
• 1/2.84” HD CMOS PRO sensor
• 8.77cm (3.5”) OLED touchscreen
• Dual-format recording; DIGIC DV 4
• HD-SDI output
• 1.56m dot EVF, 45° tilt
• Fast/slow motion
• Built-in IR lamp
• 2x XLR inputs
• Built-in Wi-Fi

XA20 – key features:

• 26.8mm, f/1.8-2.8 lens, 20x zoom, Dynamic OIS
• 1/2.84” HD CMOS PRO sensor
• 8.77cm (3.5”) OLED touchscreen
• Dual-format recording; DIGIC DV 4
• 1.56m dot EVF, 45° tilt
• Fast/slow motion
• Built-in IR lamp
• 2x XLR inputs
• Built-in Wi-Fi

LEGRIA HF G30 – key features:

• 20x zoom, 26.8mm wide-angle lens; 8 blade circular aperture
• Control settings remotely and share with Wi-Fi
• Simultaneous recording of AVCHD and MP4
• Canon HD CMOS PRO sensor, DIGIC DV 4
• Optical Intelligent IS
• Full manual control
• Instant AF; Face Detection
• 8.8cm OLED touch screen

[1] 35mm equivalent

[2] Standard, Powered, and Dynamic modes

[3] SD, SDHC and SDXC formats supported

[4] Dual recording not supported in AVCHD 28Mbps or MP4 35Mbps modes

[5] Rec Start/Stop, aperture, shutter, focus, zoom, white balance and shooting mode supported in Camera Remote

[6] Wireless network and DLNA support required

Canon Inc announces development of new 35mm CINEMA EOS prime lens

Canon Inc. announces development of 35mm Cinema prime lens

United Kingdom, Republic of Ireland, 3 April 2013 – Canon has announced it is developing a new 35mm cinema prime lens for large-format single-sensor digital cameras. Compatible with a wide range of sensor sizes including super 35mm, full-frame 35mm and APS-C, the new EF-mount 35mm lens in development would become the sixth prime lens in Canon’s EF Cinema lens line-up, fulfilling the requirement for an option between the existing 24mm¹ and 50mm² lenses. A development sample of the 35mm cinema lens will be on display in the Canon booth during the 2013 NAB Show in Las Vegas, April 8-11, 2013, with the aim of an official launch during 2013.

Delivering high optical performance in a variety of focal lengths to suit a broad range of creative shooting preferences, the precision-matched Canon Cinema prime lenses are part of the Cinema EOS System of professional digital cinematography products. Launched in late 2011, the Cinema EOS System offers a unique range of high performance, large sensor cameras and 4K cinema lenses, providing exceptional quality and creative freedom to professionals of all kinds.

“Canon is committed to developing class-leading tools to support visual story-telling at all levels,” said Kieran Magee, Marketing Director, Professional Imaging, Canon Europe. “In the past 18 months alone, we’ve launched Cinema EOS and expanded the system to include HD, 2K, and 4K cameras, and a range of different lenses. We continually strive to offer our customers more creative options providing them with greater flexibility that will further support the delivery of exceptional imaging content. The new 35mm lens currently in development is a great example of this.”

All Canon EF Cinema lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards. Each Canon Cinema prime lens is equipped with an 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing “bokeh” effects. All feature a full-frame image circle in a lightweight, compact design, delivering colour tone and balance that matches Canon’s advanced Cinema zoom lenses. Canon Cinema prime lenses deliver the operation and reliability required in professional film-style shooting environments.

Canon Cinema prime lens are fully compatible with all cameras in the Cinema EOS System, and, thanks to their full frame imaging circle, can also be used with Canon’s DSLR cameras such as EOS 7D and EOS 5D Mark III. The EF-mount design of Canon’s Cinema prime lenses supports communication between camera and lens, enabling features such as display of the f-number in the viewfinder, recording of lens metadata, and Peripheral Illumination Correction³.

Launched in 2011, the Canon Cinema EOS System has already grown to include four cameras and nine prime and zoom lenses with different lens mounts, covering a range of focal lengths. For full details of all the products in the Cinema EOS range please visit http://www.canon.co.uk/For_Home/Product_Finder/Digital_Cinema/Cinema_EOS_Cameras/

Specifications and pricing for the 35mm Cinema prime lens in development are not yet fixed. Canon will release further details in due course.

¹ CN-E24mm T 1.5 L F

² CN-E 50mm T1.3 L F

³ Subject to camera compatibility

Firmware and Cinema RAW Development software updates on the way

Canon announces firmware updates for EOS C500, EOS C300, EOS C100 and improvements to Cinema RAW Development software

United Kingdom, Republic of Ireland, 3 April 2013 – Canon has today announced the development of firmware updates for three of its ground-breaking Cinema EOS System cameras, as well as a selection of new functions for its Cinema RAW Development (CRD) software. The upgrades are the latest to be developed in response to feedback from imaging professionals, demonstrating Canon’s continued commitment to supporting the needs of the professional video community.

Following the release of the upgrades, the EOS C500, EOS C300 and EOS C100 will now offer support for a new Magnify function that will allow users to check focus in different parts of an image, on the camera LCD, as well as the centre. This offers enhanced control and flexibility during shooting.

The EOS C300 will also be upgraded to support an additional range of features designed to assist independent videographers. Push Auto Iris and One Shot AF will provide further versatility on small-crew shoots, offering a quick, easy way to check and adjust exposure and focus prior to recording. The EOS C300 will also gain additional support with 1440×1080 HD video recording at 35Mbps – a broadcast-friendly recording mode employed by many news and broadcast organisations.

To offer greater flexibility for single shooters, a further upgrade for the EOS C100 will add support for Continuous AF when used with Canon’s EF-S 18-135mm f/3.5-5.6 IS STM lens.

Cinema RAW Development software – enhanced with new functionality

As well as updates to Cinema EOS cameras, Canon will also add new features to the Cinema RAW Development software. This software is supplied with the EOS C500 and is designed to support development, playback, and export of 4K Canon Cinema RAW clips.

The update will add support for the Academy Color Encoding Specification (ACES), providing an Input Device Transform function to allow output of developed Canon Cinema RAW files in an ACES-compliant OpenEXR file format. ACES has been proposed by the Academy of Motion Picture Arts and Sciences as a SMPTE colour space standard, intended to define the colour response for input and output devices to achieve an end-to-end pipeline of colour management from filming to editing, grading, distribution and screening.

A new function will also allow users to specify in/out points before developing or copying their RAW footage, streamlining workflow both on-set and during post-production. Finally, it will be possible to generate a development log, which will list details of files that have been copied or developed using the CRD software for future reference.

The firmware updates for the EOS C500, EOS C300, EOS C100 and CRD software will be available later in 2013.

• WFT-E1 : EOS-1Ds Mark II, 1D Mark II (N), 5D, 30D, 20D
• WFT-E2 II : EOS-1Ds Mark III, 1D Mark IV, 1D Mark III
• WFT-E3 : EOS 50D, 40D
• WFT-E4 : EOS 5D Mark II
• WFT-E5 : EOS 7D
• WFT-E6 : EOS-1D X
• WFT-E7 : EOS 5D Mark III

If you’re camera isn’t on this list, then there is no WiFi unit available for it. However, if you have a camera with an SD card slot, you may be able to use a SanDisk Eye-Fi card to provide image transfer, if not the full complement of WiFi functions provided by the WFT units.

We had an email in the other day asking about autofocus setup on the EOS 5D Mark III and EOS-1D X, from a very well known wildlife photographer. They’d been struggling with picking the right settings in the case studies and weren’t quite sure which AF point selection method they should be using on their cameras and for their types of photography.

Now, the focus point selection method and the focus case study are both dictated by the subjects you are shooting, but there are guidelines that may help – in this case, for shooting wildlife that is fast moving, erratic and unpredictable.

Looking at focusing patterns for this, I really like AF point expansion – the single point with four assist points in a cross. This stops the AF system grabbing the background but gives you a larger AF area to put onto your subject…a bit like trying to shoot a clay pigeon with a shotgun rather than a rifle. That said, if it’s against a clear sky, then Zone AF is very effective too, giving you an even bigger spread of AF points and relying less on your ability to keep the AF point over the subject. The downside is that – it risks grabbing the background if there is a lot of contrast behind the subject.

As for focusing options, within the six case settings, cases 2, 5 and 6 are very effective. I’ve had good success with Case 5 (erratic subjects that move quickly in any direction) though case 6 is very good if the erratic subjects also stop and start suddenly. Case 2 is best when you have subjects that move behind obstacles – a bird flying behind a tree for example.

Unfortunately, the only real way to find what works for you is to try them, but these three should give you the best starting points. Clearly switching between them is not the quickest of things to do and you’re not going to be able to do it on the fly, so as a starting point go with Case 5 and see how you get on from there.

Using AF point expansion and Case study 5 helped capture this lioness leaping a small river in the Maasai Mara, using an EOS 5D Mark III

EOS 6D Wi-Fi

This simple show used the EOS 6D connected via WiFi to an iPad running the EOS Remote application. EOS Remote lets the iPad user view images as they are taken or those stored on the memory cards. It also gives the possibility to change major camera settings like shutter speed, aperture and ISO plus take pictures and see a live preview on the iPad.

With an assembled crowd an iPad was never going to be big enough so we used an Apple TV and AirPlay to mirror the iPad display on to a large plasma that the audience could see.

At the end of the shooting a selected RAW image – we shot RAW + small JPEG – was transferred to the computer and printed out to the PIXMA PRO-10 from Canon’s Digital Photo Professional (DPP) via the Canon Print Studio Pro print plug-in.

EOS Wi-Fi workflow

This show found us both shooting images, usually Dave with the EOS 6D set to transfer to EOS Utility on the MacBook. During the demo we could take control of the camera completely changing a full range of settings, though setting the camera to monochrome picture style was an easy one for the audience to see a significant change. Images started to come through as black and white instead of colour. After this we switched over to use the EOS 5D Mark III with the Wireless File Transmitter WFT-E7. The EOS 5D Mark III + WFT-E7 were configured for FTP mode transfers, ensuring the computer operator can only receive the files not take control of the camera. Both cameras were set to shoot RAW + JPEG images with JPEGs being transferred continuously. With a quick change from the EOS 5D Mark III menu the transfer with SET feature, where images can be selected for transfer from the playback screen, was used to send RAW files. It showed that RAW files can be transferred but expect around 1s per megabyte of picture – 25s for a 25MB RAW image.

The focus then was on the DPP software and how it works to select images, process them and finally output on the PIXMA PRO-10. Modifications to RAW images were simple white balance – using click white balance on the whites of the eyes – and in some cases a little brightness adjustment. Then output again via the Print Studio Pro plug-in. For the whole show we never needed to make a TIFF or JPEG image from the RAW files to make a print.

Since we were linked to a Canon large format printer the IPF6400 we did also use it’s plug-in for DPP to make A1-size prints direct from the RAW image.

Speedlites & WiFi

We used the radio controlled Speedlite 600EX-RT flashes for each show, but only focussed on them in detail for this show. We started with a pair of flashes in a 60cm x 90cm Lastolite EzyBox, added in a reflector, hair light and background illumination all by changing settings on the ST-E3-RT. From time to time one of us took the role of a voice activated light stand – just positioning lights, not changing settings. Using the ST-E3-RT in this way we could build the lighting up step by step and show the control and features of the radio flash system.

For the photos we shot with the EOS 5D Mark III connected to the WFT-E7, making sure the images arrived on the MacBook so the audience can see the changes. It was also a chance to talk about the different modes of Wi-Fi operation that are possible with a WFT-E7, FTP mode (as we used), EOS Utility mode & WFT-Server mode.

Finally with a simple few changes in the DPP software a print was made using either the PIXMA PRO-10 or the iPF6400. The queues of folks collecting their free A2 prints was quite long so this determined if we could jump the queue – over the network – and get a print on the LFP while our show was running.

Great models – Rachael and Kate

We were happy to work with two great models over the four days, Rachael Bock for Sunday and Monday then Kate Hicki for Tuesday and Wednesday.

Featured in Focus news

Dave managed to get his face in the Focus on Imaging news site holding a print of a picture from an earlier shoot with Rachael.

Want to know about workflow, Wi-Fi, Speedlites, camera set-up?

Book your 1-2-1 training with EOS Network

EOS Network, Brian and Dave will be presenting without wires on Canon’s stand (L26) at Focus on Imaging starting this Sunday.

Each day of the show we will be running demonstrations live on the Canon booth to show the capabilities of Canon wireless photo solutions.

Have you seen Canon tablet and smartphone app EOS Remote controlling an EOS 6D from an iPad? Come see us and you will. How about wireless studio workflow with an EOS 5D Mark III, Wireless File Transmission, Wireless Speedlite flash and even Wireless printing to the PIXMA Pro-10. To cap it all we have some lovely models to photograph and show you a complete end-to-end wireless workflow from lighting, capture and print.

Dave Newton (left) and Brian Worley (right), the space-hoppers will be staying at home!

There are four demos during each day and the first one is at 10:15 each morning, so remember to stop by and say hello.

If you can’t make it to the show then book a place on our upcoming Advanced Speedlite Flash workshop on Saturday 23rd March being held in Wargrave near Reading and find out what you can really do with Canon off-camera Speedlites.