Post-processing Canon CR3 RAW files

Post-processing Canon EOS / PowerShot CR3 RAW files

Something to keep in mind for the Canon photographer when considering the new Canon EOS M and EOS R / EOS RP Mirrorless cameras.

The Canon Powershot SX70 HS, Canon EOS M50, EOS R / EOS RP / EOS R1 / EOS R3 / R5 (II) / R6 (II) / R7 / R8 / R10 and EOS 90D / EOS M6 Mark II  uses the CR3 RAW / C-RAW file standard and therefore not compatible with Lightroom 5 / 6 / 7. All future Canon EOS and Canon Powershot cameras will probably also be CR3 RAW-enabled.

Update: All Canon EOS RP CR3 RAW files are now compatible with the latest editions of Lightroom

Minimum Intel Hardware for Lightroom Post-Processing

Canon EOS R6 First Impressions and Test Images (Processed from CR3 RAW to JPG) View>>

Canon EOS R First Impressions and Test Images (Processed from CR3 RAW to JPG) View>>

Canon Digital Photo Professional (DPP) Editing suite should be fully compatible with Canon CR3 / C-RAW files

More about Canon Digital Photo Professional 4.15.0 For Windows | Mac View

Canon EF 85mm f/1.8 USM Lens (Golden Oldie)

Canon EF 85mm f/1.8 USM Lens for Hair Fashion

One of my older all-time 'short' lens favorites for more than 10 years.

This lens was part of the Canon EF-lens lineup with the previous generation Canon EOS DSLRs - for both Full-Frame and APS-C bodies.

Super sharp and a bit 'narrower' than the Canon EOS EF 50mm f/1.8 USM II lens (nifty-fifty) of the same era. Lightweight, very sharp, with a good bokeh for portraits and close-up flowers (non-macro). No Image Stabilization, but that has never bother me for the photography I do with this kens. 

I purchased this consumer lens for professional / commercial photography at +- 1/3 of the price of the L-series 85mm lens. With the correct EF-to-RF converter this lens should also be compatible on many newer Canon EOS R bodies.

This lens will probably not be available on the new market anymore, but its worth the consideration as a used option for portraits and reasonably close-up small subjects (although standing back will provide a wider and sharp perspective at various apertures - depending on subject size and / or creative objective.

I have used this lens with / without flash for a hair fashion show a few years ago for a couple of shoots. With images published throughout various mediums. At the same time I carried a Full-Frame Canon paired with the Canon EF 24-70mm f/4L IS USM lens for group and other wider-angle promotional group shots. I still use the EF 24-70mm lens quite frequently as well .

Note: All models where going through their fast-walking catwalk routines - with busy backgrounds. I had the opportunity to follow them closely during this particular show. The 'short' lens (with flash) handled the action with ease.

Images: Copyright Vernon Chalmers for Partners Hair Design

Canon Equipment / Exposure

• Body: Canon EOS 70D (APS-C)
• Lens: Canon EF 85mm f/1.8 USM (Full-Frame)
• Flash: Canon Speedlite 430EX III-RT
• Exposure: Various (ISO / Aperture / Shutter Speed)

Canon EF 85mm f/1.8 USM Lens for Hair Fashion Copyright Vernon Chalmers

Canon EF 85mm f/1.8 USM Lens for Hair Fashion Copyright Vernon Chalmers

Canon EF 85mm f/1.8 USM Lens for Hair Fashion Copyright Vernon Chalmers

Canon EF 85mm f/1.8 USM Lens for Hair Fashion Copyright Vernon Chalmers

Fashion Photography with an 85mm Lens

"Using an 85mm lens for fashion photography is a fantastic choice! Here are some reasons why it’s so popular and tips on how to make the most of it:

Why the 85mm Lens?

• Flattering Perspective: The 85mm focal length provides a natural and flattering perspective for portraits, avoiding the distortion that wider lenses can introduce 1.
  
  
• Beautiful Bokeh: With a wide aperture (like f/1.4 or f/1.8), the 85mm lens creates a shallow depth of field, producing a creamy, blurred background that makes your subject stand out 2.

• Versatility: It’s great for both close-up shots and full-body portraits, making it versatile for various fashion photography needs 1.

Tips for Using an 85mm Lens in Fashion Photography

• Use Wide Apertures: To achieve that dreamy bokeh effect, shoot with a wide aperture. This helps isolate your subject from the background 1.

• Maintain Distance: Keep a comfortable distance from your model. This lens works best when you’re a few meters away, allowing you to capture detailed shots without invading personal space 2.

• Focus on Details: The sharpness of an 85mm lens is perfect for highlighting intricate details in clothing and accessories 2.

• Experiment with Angles: Try different angles and compositions to add variety to your shots. The 85mm lens is forgiving and helps maintain a natural look 1.

Examples of Use

• Editorial Shoots: Perfect for capturing the essence of fashion in a controlled environment.

• Outdoor Fashion: Great for taking advantage of natural light and beautiful backgrounds while keeping the focus on the model 2." (Source: Microsoft Copilot)

Canon Photography Training Milnerton Woodbridge Island | Kirstenbosch Garden

Photographer vs Camera

Photographer versus Camera: Awareness, Reasoning and Resources

"We do not make photographs with our cameras. We make them with our minds, with our hearts, with our ideas." — Arnold Newman

"The camera is an instrument that teaches people how to see without a camera." — Dorothea Lange

Photographer versus Camera

"Photographer Versus Camera" could be interpreted as a thought-provoking concept, highlighting the tension or synergy between the artist (the photographer) and their tool (the camera). This tension exists at the intersection of skill, intent, and technology—where the photographer brings creativity, perspective, and emotion, while the camera is the objective instrument capable of capturing these intentions in various ways.

Here's a breakdown of what "Photographer versus Camera" might explore:

1. Creativity vs. Mechanism
   The photographer’s imagination is boundless, whereas the camera's capacity is constrained by its specifications. This dynamic creates a push-and-pull: the photographer envisions an image, and the camera translates it within the boundaries of what it can technically achieve. Some photographers feel that limitations push them to be more creative, while others strive to bend those boundaries with high-end gear or customizations.

2. Skill vs. Automation
   Cameras today are equipped with sophisticated automation—autofocus, white balance, and even AI enhancements. Some purist photographers might argue that over-relying on automation undermines the essence of photography, as it’s the photographer’s skill and intuition that should lead. Others see these tools as liberating, allowing them to focus more on composition and creativity.

3. Emotion vs. Objectivity
   While a photographer may approach a scene with a specific feeling or mood, a camera objectively captures the light, color, and movement. There’s an art in making a lifeless tool communicate emotion, which often requires a deep understanding of the camera’s settings, the environment, and how to manipulate both to create images that resonate with viewers.

4. Human Vision vs. Digital Representation
   The way humans perceive light, color, and shadow differs from how a camera sensor records it. There’s a struggle to balance these views and sometimes a creative effort to either make the final image as true-to-life as possible or take advantage of these differences to create something entirely new.

5. Personal Growth vs. Tech Dependency
   Many photographers emphasize developing their own style and storytelling ability rather than relying on camera quality. This part of the "versus" relationship reflects the journey of personal growth in photography—learning that the camera is a tool but that it’s the photographer’s vision and commitment to improvement that truly brings images to life." (Source: ChatGPT 2024) 

Does a Better Camera Make you a Better Photographer? John Mak Photography

Equipment Versus Photographer - Which Matters More? Digital Photography School

Is it the Camera or The photographer? Anna Kireeva Photography

Is It the Camera or the Photographer? Sometimes It’s Both Shutterbug

It’s Not The Camera, It’s The Photographer SLR Lounge

The Camera Doesn't Matter N.Lalor Photography

The Photographer vs. The Camera: Unleashing the Power of Creativity Eyes2Me Photography

The Theory of Photography Vernon Chalmers Photography

This Camera Makes Me a Better Photographer Fstoppers

© Symbol Image: Copyright Free from Pixabay

Versatility of the 70-300mm Zoom Lens range

Different Applications of the 70-300mm Zoom Lens

Versatility of the 70-300mm Focal Length Range Lens

A 70-300mm focal length range lens is for many photographers the longest lens in their camera bags. If not the longest, the second longest. A versatile focal length from capturing close-ups of flowers to relatively close-up wildlife.

For the serious wildlife photography enthusiast the 70-300mm focal length is always going to be a tad too short - many opt for 100-400mm lenses, 150-600mm lenses and various non-zoom prime lenses of 400mm +.

Although I do a lot of work with a 400mm lens and also much shorter lenses (i.e 16-35mm) there is no way that I can do without the versatility of my Canon EF 70-300mm f/4-5.6L IS USM lens. Most 100-400mm lenses will offer similar or even better versatility with close-up and high image quality opportunities.

New generation 70-300mm lenses (Canon / Nikon / Sigma) are very cost-effective and sharp with good Autofocus capabilities - most of them are not classified as professional lenses and therefore the price is quite respectable for the enthusiast photographer.

In my opinion, the Canon L-series professional 70-300mm lens that I use is about three time the price of the equivalent Canon consumer lens, but in no way three times better ito image quality - if that is a major concern for somebody. It offers weather sealing, more durable construction and a floating optical system for producing sharp images across the zoom range, but its not worlds apart when comparing images (this statement is relative to other requirements not necessarily just based on image quality when the pro lens is purchased). The consumer lens should be good to go for most photographers.

All 70-300mm lenses could be used with various accessories (extension tubes / close-up filters) for decreasing the minimum focus distance (MFD of the lens - useful for photographing close-up subjects.

Most 70-300mm lenses are variable aperture lenses (between f/4.-5,6) meaning that the aperture will decrease from 70 to 300mm. I.e at 70mm the aperture will be at f/4 and as you reach 300mm it will at f/5.6 and beyond. You cannot capture a zoomed-to-300mm image at f/4. Not possible. This in itself is not a limitation for most of the applications of these lenses.

I use my 70-300mm lens often on both Canon EOS full frame and crop-sensor bodies and have no concerns about any limitation for the purpose its applied for. If the lens is going to be 'too shot' or 'to long' for whatever I need to achieve I will use a different lens, either a 16-35mm, 24-70mm or 400mm lens.

Photography Training:
Training is available on all 70-300mm / 100-400mm lenses with / without extension tubes are available from me. The only prerequisite is that is must be paired with a Canon EOS / Canon EOS R body.

 
A few of my own images to show the versatility of the 70-300mm focal length. From the top: flowers, to a landscape, a bird in flight, fashion and a few insects.

Note: The flower / top insect image was captured with the Canon EF 25mm extension tube attached.

The second last image - Dragonfly at Stanford / Hermanus is without the Canon extension tube.

The last image will show the Canon hardware setup with the extension tube.

Landscape Photography With Canon EOS 6D / EF70-300mm f/4-5.6L IS USM Lens Sample Image

Birds in Flight Photography With Canon EOS 70D / EF70-300mm f/4-5.6L IS USM Lens Sample Image

Hair Fashion Photography With Canon EOS 6D / EF70-300mm f/4-5.6L IS USM Lens Sample Image

Wild Flower Photography With Canon EOS 6D / EF70-300mm f/4-5.6L IS USM Lens Sample Image

Canon EOS 70D / EF 70-300mm f/4-5.6L IS USM Lens - Stanford / Hermanus

Canon EOS 6D / EF70-300mm f/4-5.6L IS USM Lens with EF Extension Tube EF 25 II

Canon EF 70-300mm f/4-5.6L IS USM Lens Sample Images View

Criteria for Capturing a Good Photograph

Awareness of the Criteria and Elements in the Making of Great Photographs 

“You don't make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books you have read, the music you have heard, the people you have loved.” ― Ansel Adams

A personal 'visit' to ChatGPT provided objective and universal lists for assisting the developing / competitive photographer with the awareness of various criteria for creating ideal images for self, others and photography judges (when entering photo competitions irrespective of genre). 

Capturing a Good Photograph
"Capturing a good photograph involves a combination of technical skills, artistic creativity, and attention to detail. Here are some key criteria to consider when aiming for a great photograph:

Composition:

• Rule of Thirds: Divide your frame into a 3x3 grid and place your subject or key elements along the gridlines or at their intersections.
• Leading Lines: Use lines within the scene to lead the viewer's eye to the subject.
• Framing: Use natural elements or objects in the foreground to frame the subject and draw attention to it.
• Symmetry and Patterns: Seek out symmetry or interesting patterns in your composition.

Lighting:

• Quality of Light: Pay attention to the direction and quality of light. Soft, diffused light is often preferable for portraits, while dramatic light can work well for landscapes.
• Golden Hour: Shoot during the golden hours of early morning or late afternoon for warm, soft lighting.Avoid harsh shadows and overexposure by adjusting your exposure settings.

Focus and Sharpness:

• Ensure your subject is in sharp focus.
• Use the appropriate autofocus mode or manual focus.
• Use a tripod or stabilize your camera to prevent camera shake and maintain sharpness, especially in low-light situations.

Exposure:

• Balance exposure settings (aperture, shutter speed, ISO) to achieve the desired level of brightness and depth of field.
• Understand the exposure triangle and how different settings affect your image.

Color and White Balance:

• Pay attention to color temperature and white balance settings to ensure accurate and pleasing colors.
• Consider the emotional impact of color in your composition.

Perspective and Angle:

• Experiment with different angles and perspectives to create unique and engaging compositions.
• Try shooting from high or low angles, or using unconventional viewpoints.

Storytelling and Emotion:

• Think about the story or emotion you want to convey through your photograph.
• Capture genuine expressions and moments to evoke emotions in viewers.

Subject:

• Choose a compelling subject that is interesting, relatable, or visually striking.
• Consider the background and foreground to ensure they complement the subject.

Post-Processing:

• Use photo editing software (e.g., Adobe Lightroom, Photoshop) to enhance and refine your images.
• Avoid over-processing; aim for a natural look unless a specific artistic effect is desired.

Timing and Patience:

• Be patient and ready to capture the right moment, especially in genres like wildlife or street photography.
• Anticipate action or changes in lighting.

Technical Details:

• Pay attention to technical aspects like image resolution, file format, and image stabilization.
• Ensure your equipment (camera, lenses, accessories) is in good working condition.

Personal Style:

• Develop your own unique style and artistic vision that sets your work apart from others.
• Experiment and be open to creative risks.

Remember that these criteria can vary depending on the type of photography you are pursuing (e.g., portrait, landscape, macro, street). Ultimately, capturing a good photograph is about creating an image that resonates with you and your audience while effectively conveying the intended message or emotion. Practice, patience, and a critical eye are essential for improving your photography skills over time." (Source: ChatGPT 2023)

What Photography Judges Evaluate in Photo Competitions / Contests

"Photography judges in photo competitions evaluate various aspects of an image to determine its quality and whether it deserves recognition. While the specific criteria can vary depending on the competition and its rules, here are some common factors that judges typically consider when evaluating photographs:

1. Composition: Judges assess how well the elements within the frame are arranged. They look for balance, use of the rule of thirds, leading lines, framing, and overall visual organization.

2. Creativity and Originality: Judges appreciate unique and innovative approaches to subjects or scenes. They are drawn to photographs that stand out through creative composition, perspectives, or storytelling.

3. Technical Skill: A photograph's technical aspects are critical. Judges evaluate sharpness, exposure, color balance, and overall technical proficiency. They consider whether the photographer effectively used camera settings (e.g., aperture, shutter speed, ISO) to achieve the desired result.

4. Subject Matter: Judges consider the choice of subject and its relevance to the theme or category of the competition. A compelling and interesting subject can significantly impact the judging process.

5. Emotion and Impact: Successful photographs often evoke emotions or leave a lasting impression. Judges assess how well the image captures and conveys emotions, stories, moods, or a sense of place.

6. Storytelling: In some competitions, storytelling is a key criterion. Judges evaluate whether the image tells a compelling and coherent story or captures a decisive moment.

7. Technical Details: Attention to detail is important. Judges look for well-executed post-processing, clean editing, and a lack of distracting or unintended elements.

8. Creativity in Editing: If post-processing is allowed, judges may consider how creatively and effectively the photographer used editing techniques to enhance the image without overdoing it.

9. Adherence to Rules: Judges ensure that entries adhere to the rules and guidelines of the competition, including any restrictions on editing or manipulation.

10. Overall Impact: Judges evaluate the overall impact of the image as a whole. They consider how all the elements work together to create a visually compelling and memorable photograph.

11. Technical Challenges: In some competitions, judges may recognize and reward photographs that successfully overcome technical challenges or demonstrate exceptional technical skill.

12. Consistency (in a series): In competitions involving a series of images, judges may evaluate how well the images work together as a cohesive body of work.

13. Relevance to Theme or Category: If the competition has a specific theme or category, judges assess how well the entry aligns with that theme or category.

Keep in mind that judging criteria can vary from one competition to another, and judges' preferences may differ. Photographers entering competitions should carefully read the rules and guidelines provided by the competition organizers and consider these criteria when preparing their entries. Additionally, judging often involves some degree of subjectivity, as judges bring their own perspectives and experiences to the evaluation process." (Source: ChatGPT 2023)

Images Source: Pixabay (Open Source)

The Theory of Photography

Aperture Demonstration for New Photographers

Aperture Demonstration for New / Developing Photographers

A brief aperture / background blur demonstration of 8 images captured at different apertures, but exactly the same depth of field between camera / subject and background distance.

Objective: To demonstrate what effect an aperture change will have on background blur when changing the aperture setting on the camera (with all other settings exactly the same).

Lens Apertures
Apertures selected from first to last image: f/1.8 / f/2.8 / f/4 / f 5.6 / f/8 / f/11 / f/16 / f22 (f/1.8 is the largest aperture (actual lens opening with f/22 the smallest aperture of the particular lens used). Read more on the inter-relationship between Aperture / ISO and Shutter Speed: Exposure Triangle>>

Note how the density of the background blur decrease from f/2.8 to f/22. The background blur changes will have very little effect on the focused subject (red telephone / money box).

Difference between Digital Noise and Background Blur View

When is this applicable? In almost all subjects we photograph - from portraits to wildlife to landscapes. For portraits you want to isolate the subject by using a larger aperture (smaller f/ number) i.e. f/2.8 - f/4, for wildlife; isolating animals from their immediate habitat at i.e. f/4 - f/5.6 and for landscapes where you want image sharpness across the frame with smaller apertures (higher f/ number) i.e. f/11 - f/16.

The quality and density of the blur will depend on type of lens used, focal length of the lens, distance to subject (and to background). Various other camera / environmental factors could also have an effect on the desired outcome.

Creative application will also have an effect on the background blur, i.e. long exposures or showing motion in some part(s) of an image. Another consideration is macro photography where you may want to capture a close-up flower with a very narrow depth of field relative to its background - where you may require an aperture between i.e. f/2.8 - f/11 depending on the required blur effect(s) across the frame.

The more I train photographers (10 years +) the more I realise one of the biggest challenges for the new / developing photographer in understanding exposure is lens aperture - or the range of apertures available in a specific lens (which is mainly set / changed from the camera body).

Aperture is one of the critical elements in deciding quite a few decisions in photographing a specific subject / scene (applicable to all images). With a specific aperture the photographer will decide the depth of field and this will vary from the subjective photographic creative objective(s) – depending on what the subject is – and of course, the creative objective(s) of the photographer.

The aperture value / values (settings) will depend on the lens used – it is not a camera (body) function, but determined by the lens used, i.e. f/1.8 or f/5.6 - but as mentioned above set / changed from the camera body. Apertures can be i.e. between f/1.8 and f/22+. Specific aperture values will depend from lens to lens - i.e. 85mm f/1.8 lens or 100-400mm f/4.5-5.6 lens. There is a lot of learning / specific application between i.e. f/1.8 and f/16.

Knowledge in understanding what aperture to use and / or what the specific aperture range of a specific lens is, is fundamental in terms of the specific outcome of any image. From small subjects (macro) to wide-area landscapes – it will depend on what lens the photographer is using. The body (APS-C or Full-Frame) will have an impact on the final depth of field, but it is – once again, fundamental for the photographer to understand the aperture value(s) of his / her lens in relation to the creative objective(s).

Note 1: aperture does not function in isolation – other major exposure considerations will be i.e. shutter speed and ISO’s used for specific outcomes.

Here are 8x images starting from aperture f/1.8 to f/22 to demonstrate the application of aperture with a specific camera body and 85mm f/1.8 lens.

Note 2: The main subject is not affected by the aperture, only the background. At f/1.8 the background is essentially blurred out – comparing to f/.22 were it will be possible to see much more finer detail in the background. This exercise will depend on lens / aperture and also distance between lens, subject and background.

Note 3: If the photographer wants nothing in the foreground of specific importance, then f/11 - f/16 should be the choice. In my demonstration it would be difficult to blur out the mailbox (although I'm using an 85mm f/1.8 lens) - it is way too close to the lens. One option would be to remove it via Lightroom's Generative AI tool - that is if the subject (mailbox in this case) renders a 'nuisance' and not blend with the creative objective.

For this demonstration the only variable was the aperture / or what is also refer to as the f/stop.

Note 4: Presented demonstration will have been slightly different if I had used a different sensor camera (APS-C or Full-Frame) and / or a different lens that would have been able to focus in this confined environment. There are many different opportunities with aperture - but, it will depend on the photographer's understanding of aperture, creative objective(s) and / or lens used.

Demonstration done with Canon EOS 6D / EF 85mm f/1.8 USM lens with external Speedlite flash on tripod.

On the top left of each image will be the specific aperture I have set on the camera body used.

Canon EOS Camera / Lens / Speedlite Flash - Other Settings Used

• Canon EOS 6D / Canon EF 85mm f/1.8 USM lens / Canon Speedlite 430EX II
• f/1.8 - f/22 / ISO 400 / 1/60s (85mm) Manual Focus (via Live View) Tripod

Aperture f/1.8  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

  

Aperture f/2.8  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

Aperture f/4  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

  

Aperture f/5.6  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

Aperture f/8  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

  

Aperture f/11  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

Aperture f/16  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

  

Aperture f/22  ISO 400 : Canon EOS 6D / EF 85mm f/1.8 USM Lens

Aperture and Depth of Field

"Aperture and depth of field are fundamental concepts in photography that work closely together to influence the sharpness and focus of your images.

Aperture

• Definition: Aperture refers to the opening in a camera lens through which light passes to enter the camera. It’s similar to the pupil of an eye, adjusting to let in more or less light.
  
  
• Measurement: Aperture is measured in f-stops (e.g., f/2.8, f/5.6, f/16). A smaller f-stop number (e.g., f/2.8) means a larger aperture, allowing more light to enter. Conversely, a larger f-stop number (e.g., f/16) means a smaller aperture, letting in less light 1.

Depth of Field (DoF)

• Definition: Depth of field is the distance between the nearest and farthest objects in a photo that appear acceptably sharp. It determines how much of your image is in focus.

• Influence of Aperture:
• Wide Aperture (Small f-stop): Produces a shallow depth of field, meaning only a small part of the image is in focus while the background and foreground are blurred. This is great for portraits where you want the subject to stand out against a blurred background 2 3.
  
  
• Narrow Aperture (Large f-stop): Results in a greater depth of field, meaning more of the scene is in focus. This is ideal for landscapes where you want everything from the foreground to the background to be sharp 4.

Other Factors Affecting Depth of Field

• Camera-Subject Distance: The closer you are to your subject, the shallower the depth of field.
  
  
• Focal Length: Longer focal lengths (e.g., telephoto lenses) produce a shallower depth of field compared to shorter focal lengths (e.g., wide-angle lenses).
• 
  Sensor Size: Larger sensors (e.g., full-frame) tend to have a shallower depth of field compared to smaller sensors (e.g., crop sensors) at the same aperture 2.

Understanding how to manipulate aperture and depth of field allows you to creatively control the focus and sharpness of your photos, enhancing the storytelling aspect of your images." (Source: Microsoft Copilot)

Shooting Location: Milnerton Cape Town (Photographer: Vernon Chalmers Copyright Policy)

More about the Exposure in Photography Exposure Triangle

Responsiveness of the Canon EOS 6D

Reed cormorant over the Diep River / Woodbridge Island - Canon EOS 6D (Full Frame)

With Canon EOS 6D / EF 400mm f/5.6L USM Lens

Practical Mini-Comparison : Canon EOS 6D vs. Canon EOS 6D Mark II  

With my slowest Full-Frame camera (4.5fps) and basic AF-System, the Canon EOS 6D / EF 400mm f/5.6L USM lens. I have recently complimented the Canon EOS 6D with the higher-Megapixel Canon EOS 6D Mark II (20 vs. 26 MP / 2.5fps frame rate increase with the more advanced 45 AF-Point AF-System), compared to 11 AF-Points on the older Canon EOS 6D) and looking forward working with the Canon EOS 6D Mark II.

Image Processor: DIGIC 5.5 ( Canon EOS 6D) vs. DIGIC 7 (Canon EOS 6D Mark II. Improvements are noticeable via faster Continuous AF fps shooting and improved low light performance. I have found the EOS 6D Mark II Dynamic Range almost to the EOS 6D (via RAW in Lightroom Classic CC post-processing). I'm quite satisfied with the RAW image files generated by the Canon EOS 6D Mark II.

Topaz Photo AI 3 provides for more tuning and enhancement for specific noise management, sharpening and other improvement. I only use the Topaz AI 3 plugin via Lightroom Classic CC for specific image challenges.

The EOS 6D Mark II was acquired mainly for landscape photography, general / street photography and night photography. Still working my way across my familiar Canon EOS 6D genres.

The Canon EOS 6D is still here and being used regularly. My go-to birds in flight camera is still the Canon EOS 7D Mark II paired with either my EF 400mm or EF 100-400mm lens.

I still have lots of faith in the older Canon EOS / EF System 'workhorses'.

Final Post-Processing: Lightroom Classic CC V.14

Canon 6D Mark Exposure / Autofocus Settings for Above Image

• Manual Mode
• Auto-ISO: 500
• Aperture: f/5.6
• Shutter Speed: 1/2500s
• Focal Length: 400mm
• One-Point AF
• No IS 
• Handheld

Canon EOS 6D Mark II Bird Photography Woodbridge Island

Canon EOS 6D Mark II / Canon EF 24-70mm f/4L IS USM Lens (General Photography)

Canon EOS6 D: Kalk Bay and Simon's Town, Cape Town Photography

Canon EOS 6D: Milnerton Flea Market on a Sunny Saturday

Vernon Chalmers Photography Article Index

Vernon Chalmers Photography Article Index

Vernon Chalmers Photography Article Index : Image @ Vernon Chalmers 

Photography articles prepared by Vernon Chalmers using various Canon EOS / EOS R cameras and Canon EF / EF-S / RF lenses

Go To Canon Camera Articles>>

Introduction to the Exposure Triangle
In understanding ISO, Aperture and Shutter Speed it’s important to note that all three are present in every photo you capture with your camera. The degree in which they are applied will depend on various camera and / or lens settings and lighting conditions. Read more>>

Long Exposure Photography Setup & Tips
Long-duration shutter speeds / long exposures are applied when shooting after sunset, night photography and / or fireworks. The photographer will use longer shutter speeds to capture a low / fading / after-sunset or a night composition - all of which could provide for some really dramatic exposure effect. Long exposures (during daylight) are also achievable with the use of filters (see section on ND filters). Read more>>

Canon EOS 6D Bulb Mode / Long Exposure Photography
Demonstrating long exposure photography using the Canon EF 16-35mm f/4L IS USM Ultra-Wide lens (paired with the Full Frame Canon EOS 6D) across the old wooden bridge, Milnerton Lagoon and Otto du Plessis Drive Woodbridge Island bridges, Milnerton Cape Town. Read more>>

Fast shutter speeds for slow and faster flying birds
Previously I briefly discussed the effect of slow shutter speeds on relatively fast movement subjects for creating motion blur in some of the moving parts (the aeroplane and the motorcycle) - capturing them with shutter speeds of between 1/60s - 1/125s if the objective of the photographer is to show motion blur (in i.e. the propellers and wheels). Read more>>

Slow Shutter Speed Action : Canon EOS 7D Mark II 

Impromptu Slow shutter speed action - Dakota in Flight

The image of the Dakota aeroplane - with spinning props - was a split-second decision of changing settings for creating the spinning / blurred propeller-effect.

I was doing Birds in Flight on Manual Mode with a fast shutter speed of 1/4000s - and quickly moved to Tv Mode for setting a slower shutter speed (1/60s) and let the camera control / decide on a smaller aperture / higher f/stop value (f/18 in this case). Read more>>

Free Canon Shooting Simulation: Exposure Practice
The Canon simulation software provides a practical and intuitive way to learn and apply the Exposure Triangle, different shooting modes (Manual / Shutter Priority / Aperture Priority) and to practice shots by changing the settings (and seeing the inter-relationship of ISO / Aperture / Shutter Speed). Visit the Canon website to practice your shots Read more>>

Ultra Wide-Angle Lenses: APS-C vs Full Frame Focal Lengths
Ultra Wide-Angle Lenses: different focal lengths (comparing Crop and Full Frame focal lengths). On my website I have made two posts from the same Woodbridge Island, Cape Town location for interested photographers looking at wide-angle lenses. Read More>>

Birds in Flight Photography: Cropping & Post-Processing
I recently responded to a request from one of my delegates from our latest Birds in Flight Photography Workshop Cape Town with regard to image cropping and the amount of post-processing required (as applied in my own Birds in Flight images in my regular shooting environment at Woodbridge Island, Cape Town). Read More>>

Birds in Flight Photography Cape Town : Canon EOS 7D Mark II

Starting Out With Birds in Flight Photography

Many photographers, when they first getting interested in Birds in Flight / Action Photography, are of opinion that they require professional grade gear, or at least the latest and / or greatest DSLR / Lens combination that they can afford. Birds in Flight Photography gear acquisition can very quickly spiral out of control for new photographers putting gear first and not being mindful to all the basic requirements for getting started. Read More>>

Aperture Demonstration for New Photographers
A brief aperture / background blur demonstration of 8 images captured at different apertures, but exactly the same depth of field between camera / subject and background distance) to show what effect an aperture change will have on background blur when changing the aperture setting on the camera. Read More>>

Canon EOS Setup and Tips For Birds in Flight Photography
Its really up to the individual photographer to take time for researching and learning about the various settings, skills and applications to master birds in flight photography. As any other genre Birds in Flight Photography requires a good understanding of camera / lens settings, Autofocus settings and the many capturing and tracking variables to ultimately succeed with birds in flight photography. Read More>>

Tracking Variables for Birds in Flight Photography Cape Town : Canon EOS 7D Mark II

Tracking Variables for Improved Birds in Flight Photography

During my Birds in Flight and Canon AI Servo AF Workshops in Cape Town I generally start of with a slideshow of a variety of in-flight images (with different Canon EOS bodies / EF prime / zoom lenses) for pointing out basic EXIF data, location and other relevant information. Read more>>

Focus Stacking in Macro and Close-Up Photography
In Macro and Close-Up photography we are challenged with a very narrow Depth of Field (DOF) in creating a sharp image (and providing for more and / or less out of focus areas). 

In order for extending the DOF across the image image or part of the subject(s) in the frame photographers use focus stacking for achieving a more desired / sharp result. Read More>>

Difference between Digital Noise and Background Blur
Blur can really mean different things in digital photography, but should not to be confused with unwanted graininess or digital noise across a digitally created image. Unwanted noise generally occurs when shooting in low light, when a digital camera's ISO setting is too high. Read more>>

Digital vs Optical Zoom

The Difference between Optical and Digital Zoom

To bring far away subjects closer into the frame photographers have a choice to either use a telephoto zoom lens or to move closer to take the shot at a closer focal length. The latter is not always possible, and many photographers rely on a variety of zoom lens options for bringing a variety of subjects closer. Read More>>

Using the Canon RC-6 Remote for long exposure photography
The Canon RC-6 Wireless Remote Control is an inexpensive wireless transmitter for Canon EOS DSLR cameras and a really handy accessory for pairing with my Canon EOS 700D. This tiny remote release assists me mostly with long exposure landscape / seascape photography (on tripod) when using Av / Bulb mode for shutter releases of up to 30 to 40 seconds. Read more>>

What is Camera / Lens EXIF Data?
EXIF Data is the identification and listing of an information metadata tag and its values -available for DSLR / Compact / Smartphone cameras before and / or after taking the photo. Generally found on your LCD screen viewing image detail or when downloaded in Canon's Digital Photo Professional, Google Picasa / Adobe Lightroom (and other camera / editing software). Read more>>

Canon EOS 7D Mark II / EF 100 - 400mmm f/4.5-5.6L IS II USM Lens

Canon Photography Training Milnerton Woodbridge Island | Kirstenbosch Cape Town

Taking Advantage of Auto ISO - Official Canon Article

Taking advantage of Auto ISO is an official Canon Learning Document 

Using Auto ISO 500 with Canon EOS 7D Mark II - View Gallery

Using Auto ISO for Birds in Flight Photography
Many of my Canon EOS photography clients / students are still using the Full-Frame Canon EOS-1D X II / III, Canon EOS 5D Mark III / IV and Canon EOS 6D / II and high-end APS-C / Crop bodies (EOS 7D Mark II / EOS 90D / EOS 80D / EOS 70D amongst others). This article is an excellent resource to share the official Canon motivation for using Auto ISO.

I only use Auto ISO for my birds in flight photography and for many new birds in flight photographers this is quite a departure from pre-set ISO's

I have been using Auto ISO since 2013 for serious birds in flight starting with the Canon EOS 70D and rarely had noise issues up to ISO 1200 (with some noise reduction applied in post-processing).

Benefits of Using Auto-ISO on Canon EOS Cameras

Taking advantage of Auto ISO
Canon’s EOS-1D X, EOS 5D Mark III and EOS 6D possess a host of new features and improvements, including a significant refinement of Auto ISO, that makes the feature an even more practical option to working photographers and serious enthusiasts. Aside from the cameras’ outstanding high ISO image quality and significantly increased ISO range, the following features answer the requests of many serious shooters:

• User can manually pre-set a minimum and maximum ISO range
• For Auto ISO, the shooter can pre-set the minimum and maximum available ISO range (this is separate from the range for manually-adjusted ISO)
• For the first time with an EOS SLR, the shooter can set a minimum shutter speed used with Auto ISO. If the shutter speed drops below this user-set value, the Auto ISO will automatically be raised

Auto ISO has become a feature many experienced SLR users are considering in certain shooting situations. This article will cover in detail these new settings and offer some possible scenarios where they might prove very useful.

Auto ISO
The EOS-1D X, EOS 5D Mark III and EOS 6D allow Auto ISO to be used in all shooting modes, including Manual mode, and all the ISO speed options are accessed from a single screen. But for many experienced shooters, the first question may be, “Why would I want to have the camera automatically set the ISO for me?”

One example is when lighting may change radically during shooting. Theater and concert photography, where stage lighting may change rapidly, are really good examples. Wedding ceremonies in churches are another example. With available light in the church, the photographer would have to speedily adjust when the doors open and the couple exits. Without missing a moment, Auto ISO would let the photographer work at higher ISOs indoors and seamlessly switch to lower ISOs outside.

Sports events that occur in the early morning or late afternoon, where half the field may be in direct sunlight and the other side in deep shade, are also challenging. Professional sports photographers used to have a few choices to deal with this situation, such as pre-setting exposure settings for only one side of the field. Another possibility would have been carrying two cameras, each pre-set to different settings and film speeds, and switching between fields. I doubt many photographers miss doing that.

A wildlife photographer suggested this challenging scenario: he or she is following a running animal, which means that the shutter and aperture can’t be easily changed. The animal might hide under the shade for a moment before suddenly running into bright sunlight. Adventure photographers, like rock climbers, might face the same challenge with dramatically different lighting situations when facing up or down from the same spot.

If a photographer shoots in Av or Tv mode, they may anticipate needing or wanting to make major changes in aperture or shutter speed, respectively. Auto ISO can save time by preserving a reasonable hand-held shutter speed (in Av) or usable lens aperture (in Tv), which possibly eliminates the need to follow-up with a big Av or Tv change with a manual adjustment of ISO.

In Manual exposure mode, a pre-set shutter speed and lens aperture can be continually maintained, even if the light changes. This allows the photographer to have full control over stopping motion and depth-of-field, while still allow the camera to react to any changes in light (this could be ideal in remote-controlled or intervalometer shooting). A very handy, yet underutilized, feature is the ability to apply AE Lock when working with Auto ISO in Manual mode. The viewfinder will show the difference between the locked value and the current metered value. It is important to know that the camera won't let you use the “ealxtended” ISO settings (equivalent to ISO 50, 51200 and 102400 on the EOS 5D Mark III and EOS 6D) in Auto ISO.

Shutter Speed
Until now, one problem that kept many pros away from Auto ISO was that there was no meaningful control over how slow a shutter speed might be selected in low-light conditions. But with Canon’s recently introduced SLRs, the photographer can tailor Auto ISO to give exactly this type of control. A separate menu entry, Minimum shutter speed, provides the following settings:

• Auto: Camera will continue to try to maintain a shutter speed of at least 1 over the lens focal length, changing ISO to maintain this as long as possible. The camera will tend to pick lower ISOs and slower speeds when using standard or wide-angle lenses.
• User-defined shutter speed: Photographer can pick a speed from 1 second to 1/250 of a second and the camera will only go below this shutter speed after it has raised its ISO to the highest available setting, based on Maximum ISO set by the user under Auto ISO range.

Some users are often hesitant to delegate such an important setting to the camera’s brain. But after getting used to this new feature, the results speak for themselves.

Image Quality
Thankfully, Canon thought about image quality at great length and came up with very elegant solutions. Users can specify the slowest shutter speed before the ISO is raised automatically and they can set a limit to the highest ISO the camera will use, which enables them to retain the lighting and look that they desire for a scene. They can also specify the ISO range the camera can use to ensure proper image quality.

The overall image quality at higher ISOs on Canon’s latest full-frame digital SLRs is superior to any Canon EOS models which have come before them — making shots at higher ISOs a legitimate and practical option, even for critical shooters. Just a few years ago, ISO 400 or 800 provided image quality that was borderline acceptable. With current systems, one can now push the ISO to 3200 and higher and get vastly cleaner files. This point certainly means Auto ISO is here to stay.

Flash and Auto ISO
When using a flash on the EOS 6D, 5D Mark III or 1D X, photographers need to be aware of these settings:

• Auto ISO normally is locked at ISO 400 when an EOS speedlite is attached and turned on
• Auto ISO can be lowered down as far as 100, if over-exposure would occur in fill-flash situations in bright outdoor lighting
• If an EX-series speedlite is swiveled for bounce, Auto ISO can extend from 400 or up to 1600 (depending on level of ambient lighting in the scene) and allow for an extra measure of E-TTL exposure when flash is scattered by bouncing

Video
Even though one can’t set maximum and minimum ISO or shutter speed when shooting video, video shooting with EOS SLRs does permit use of Auto ISO. When recording video with an EOS SLR in any Auto mode (P, Tv, or Av), ISO is always set automatically by the camera.

When shooting in Manual Mode, users can set a specific ISO (from 100 to 12800; up to 25600 on the EOS-1D X) or let the camera automatically adjust the ISO on the fly. The beauty of this is that the photographer’s choice of shutter speed and lens aperture, often critical when recording HD video, can be pre-set and locked in. Yet, if lighting changes as the camera or subject moves, the camera can adjust exposure by only varying ISO. Again, when shooting video and the camera is set to Program (P), Aperture Priority (Av) or Shutter Priority (Tv), the only option users have is to let the ISO be automatically set by the camera.

If you are shooting from a moving vehicle - for example, a car or a train - you may be going through a whole range of scenes from bright to dim light. Another situation when Auto ISO is very helpful is when shooting one continuous shot with a Steadicam. Auto ISO comes in handy when going from a very dark scene (an underground Subway platform) to a very bright scene (a street at midday) when one does not have easy access to the camera settings while recording.

Conclusion
As you can see, Auto ISO is a very useful setting when the light is changing rapidly and either the shutter speed and/or aperture need to be pre-set to match a specific effect - like freezing action for sports or wildlife, or when changing settings is not easy. It can enable very quickly and make major changes to speeds or apertures, thus allowing the user to shoot again without having to make a follow-up adjustment to ISO.

When working in situations with rapid and extreme changes in lighting, consider using Auto ISO more often, especially when capturing the moment is absolutely critical.

An In-depth Discussion of M + Auto-ISO for Canon SLRs View

Source: Canon USA