Canon May Produce an Unprecedented 50-80mm f/1.1 Lens

The post Canon May Produce an Unprecedented 50-80mm f/1.1 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon May Produce an Unprecedented 50-80mm f/1.1 Lens

Are you a Canon user?

If so, you’ll be happy to know that Canon continues to push the boundaries of camera gear innovation.

Because earlier this month, a Canon patent was published, one that detailed plans for a new lens: a 50-80mm f/1.1 zoom.

Yes, you read that right.

According to the Canon patent, the lens would have a fixed maximum aperture across its entire focal length range, maintaining its f/1.1 maximum aperture from 50mm to 80mm.

A fixed-aperture f/1.1 Canon lens would certainly make waves. None of Canon’s recent lenses have an f/1.1 aperture. The closest lens is the Canon 50mm f/1.2. So this lens will certainly appeal to those who enjoy unique equipment.

The f/1.1 aperture would be ideal for portrait photographers. The wide aperture would allow for stunning background bokeh. And it would also allow for photography in low light, which is perfect for those who shoot indoors or at night.

Plus, the 50-80mm focal length is great for portrait photography of any kind. At 50mm, portrait photographers can get some standard shots. At 80mm, you can go in for a tighter image.

Street photographers will also be a fan of 50-80mm, given how 50mm is often considered the fundamental street photography focal length.

A zoom lens such as this one would likely exist as part of Canon’s RF lineup, which is rumored to expand over the course of the next year.

Note that some patents never actually amount to anything. In other words, just because Canon patents the designs doesn’t mean that they will send the product to market. But it’s interesting to see Canon thinking about such incredible new equipment.

So keep your eyes peeled, Canon users.

And even if the Canon 50-80mm f/1.1 lens is never produced, it’s certainly piqued consumers’ imaginations!

Would you be interested in a lens like this one? What do you like and dislike about it? What would you use it for? Let me know in the comments!

The post Canon May Produce an Unprecedented 50-80mm f/1.1 Lens appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Your Canon DSLR Might Be Hacked; Here’s What You Should Do

The post Your Canon DSLR Might Be Hacked; Here’s What You Should Do appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

canon-dslr-ransomwareDo you use a Canon DSLR?

If so, watch out. Because hackers can exploit your camera and hold your images hostage.


Let me explain:

Ransomware is malicious software that hackers can use to infect your camera. Once the ransomware gains access to your camera, it encrypts your images, making them completely inaccessible to you.

That’s when the hacker makes a demand:

If you ever want to see your photos again, you must pay a sum of money. In return, the hacker will give you an encryption key, which allows you to break the encryption and access your images.

In other words:

The hacker holds your images hostage. And if you want them back, you have to pay the ransom.

For some, ransomware might not be news. Ransomware attacks have been going on for decades.

Except it was only this year that a company called CheckPoint demonstrated the hackability of Canon cameras. CheckPoint realized that Canon’s Picture Transfer Protocol (PTP) could be easily exploited by hackers through a USB connection or, more disturbingly, over Wi-Fi.

Then CheckPoint carried out a ransomware attack on a Canon 80D, and they did it over the camera’s Wi-Fi connection. The attack required absolutely no interaction with the camera owner.

CheckPoint shared their findings with Canon, prompting the company to produce a security advisory that warns consumers of the dangers of a “third-party attack.” Read the full security advisory on the Canon website.

Canon is now working hard on a patch for this vulnerability and has already produced a firmware update for the Canon 80D.

Meanwhile, Canon has released recommendations for other camera users:

  • Ensure the suitability of security-related settings of the devices connected to the camera, such as the PC, mobile device, and router being used.
  • Do not connect the camera to a PC or mobile device that is being used in an unsecure network, such as in a free Wi-Fi environment.
  • Do not connect the camera to a PC or mobile device that is potentially exposed to virus infections.
  • Disable the camera’s network functions when they are not being used.
  • Download the official firmware from Canon’s website when performing a camera firmware update.

So for owners of the Canon 80D, I suggest you update your camera. You don’t want to remain vulnerable.

And for anyone else with a Canon camera, keep an eye out for Canon firmware updates. This is especially critical if your camera features a Wi-Fi connection, which can be exploited much more easily than a USB connection.

Do you own a Canon with a wif-fi connection? Will you be updating your firmware?

The post Your Canon DSLR Might Be Hacked; Here’s What You Should Do appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon and Nikon Will Release DSLRs With In-Body Image Stabilization

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


In-body image stabilization (IBIS) has long been resisted by the two DSLR giants, Nikon and Canon.

But recent rumors indicate that both Canon and Nikon will be breaking into new territory, with IBIS technology added to upcoming DSLRs for both brands.

Up until now, in-body image stabilization has been confined to Nikon’s mirrorless lineup. And while reports indicate that the followup to the (mirrorless) Canon EOS R will include IBIS, there was no definitive information about DSLR in-body stabilization.

Then, in April, rumors indicated that Nikon would be introducing in-body image stabilization to the D6, Nikon’s future flagship DSLR (with a possible release date in the first half of 2020). This was followed by further reports that the D6 was delayed due to the decision to add in-body image stabilization.

And just last week, Canon Rumors reported that “Canon will ‘definitely’ bring IBIS to ‘select’ DSLRs in the near future.”

Canon Rumors was uncertain “which camera(s) would be getting IBIS,” but explained that “the EOS 90D, which is coming in the next couple of months,” is a strong possibility.

Sources have also discussed the possibility that the Canon 1DX Mark III will have in-body image stabilization, so it can go toe-to-toe with the upcoming Nikon D6. Both the Canon 1DX bodies and the Nikon D6 bodies are direct competitors, catering to professional photographers who require high frame rates and exceptional durability.

Now, Nikon and Canon have always maintained that lens stabilization is superior to in-body image stabilization, due to increased flexibility in the lens as compared to the camera body. This may well be true, but many phenomenal Canon and Nikon lenses don’t include image stabilization. So photographers of all levels will undoubtedly appreciate this move to in-body stabilization.

It will certainly be a boon to those who tend to shoot handheld in low light.

So let me ask you:

Are you excited about the possibility of IBIS in new Canon and Nikon DSLRs?

And would you like to see IBIS in the upcoming Canon 90D?

Let me know in the comments!

The post Canon and Nikon Will Release DSLRs With In-Body Image Stabilization appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon to Announce the 90D or the EOS M5 Mark II Next Month

The post Canon to Announce the 90D or the EOS M5 Mark II Next Month appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


August is bound to be an exciting month for Canon fans.

Rumors indicate that either the Canon 90D or the Canon EOS M5 Mark II will be announced next month, though it is also possible that we’ll get an announcement for both.

The Canon 90D would likely be the replacement for the Canon 80D, a mid-level Canon DSLR aimed at enthusiasts. The Canon EOS M5 Mark II, meanwhile, replaces the Canon EOS M5, an APS-C mirrorless camera.

The Canon 80D debuted back in February of 2016, and a lot has changed since then in the camera world. For one, the 80D lacks 4K video, and Canon fans expect to see this featured in a new 90D. Recent speculation suggests that the 90D may also be the first Canon DSLR to contain in-body image stabilization (IBIS).

Here are several rumored Canon 90D specifications:

  • A 31.2 (or a 32.5) megapixel APS-C sensor
  • 10 frames-per-second continuous shooting
  • 4K video
  • Dual card slots
  • Bluetooth
  • Wi-Fi
  • An articulating 3.2-inch LCD
  • 45 autofocus points
  • $1399 USD price

Note the 30+ megapixel sensor, which will take Canon APS-C cameras to a new level. And the dual card slots point to this being a slightly higher-end body than the Canon 80D.

The Canon 90D may not be replacing only the Canon 80D, however. Canon 7D Mark II fans have long awaited a 7D Mark III, but may have to settle with a Canon 80D/Canon 7D Mark II replacement hybrid, which will combine both APS-C camera lines into one.

The Canon M5 Mark II, on the other hand, would be an upgraded APS-C mirrorless body. It’s rumored to have an electronic viewfinder like the Canon RP, and enhanced video capabilities, including 4K and high frame-rate slow motion.

Note that the Canon EOS M6, another Canon APS-C mirrorless body, may also see a replacement announced sometime late next month.

Now I’d like to ask you:

Note: There is a poll embedded within this post, please visit the site to participate in this post's poll.

Let me know why in the comments!

The post Canon to Announce the 90D or the EOS M5 Mark II Next Month appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Massive Decline in Digital Camera Sales, Plus Nikon Sees Market Share Decrease

The post Massive Decline in Digital Camera Sales, Plus Nikon Sees Market Share Decrease appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Earlier this week, Nikkei revealed the latest digital camera market trends.

And for camera manufacturers, things are looking dismal.

The market share breakdown

First, let’s take a look at the market share breakdown:

  • Canon: 40.5% (an increase of 3.9% from 2017)
  • Nikon: 19.1% (a decrease of 2.7%)
  • Sony: 17.7% (a decrease of 0.7%)
  • Fujifilm: 5.1% (an increase of 1.3%)
  • Olympus: 2.8% (an increase of 0.1%)

Notice that Canon had the biggest gains, followed by Fujifilm and Olympus. Nikon’s market share took the biggest hit, with Sony seeing a decrease, as well.

For Nikon, these numbers are not encouraging. The 2.7% drop in market share suggests the company’s latest big move – its leap into the full-frame mirrorless market – hasn’t held up well against the competition.

In some ways, this might be expected. Nikon is a small company compared to competitors such as Canon and Sony, and this puts a clear cap on its resources for innovation. On the other hand, Nikon has remained a dominant player in the digital camera market for decades.

Which begs the question:

Are we about to see Nikon losing its footing?

Unfortunately for Nikon and the other camera manufacturers, the bigger problem has little to do with reshuffled market shares, and everything to do with surging smartphone camera technology.

Because, as Nikkei’s report revealed, digital camera unit sales are down 22% from 2017.

This may come as a surprise to some, who see mirrorless cameras representing the future of photography. After all, mirrorless camera innovation is at an all-time high, with Canon and Nikon just recently joining the fray.

But here’s the issue:

As impressive as mirrorless cameras have become, smartphone cameras are still far more attractive – at least for the casual photographer. They’re smaller than the smallest mirrorless body. You always have them with you. And the simple camera interface, bolstered by features such as ‘swipe to change the exposure,’ make smartphone photography an extremely enticing option.

So in the wake of smartphone camera improvements, would-be DSLR and mirrorless photographers are consistently turning to companies like Google and Apple to satisfy their photography needs.

And it’s a trend we’re likely to see into the future.

So now I’d love your input:

  • Do you think that smartphones will completely replace hobbyist digital cameras?
  • Could you see yourself using a smartphone camera instead of a DSLR or mirrorless body?
  • What do you think about Nikon’s decline and Canon’s rise?


Note: There is a poll embedded within this post, please visit the site to participate in this post's poll.

The post Massive Decline in Digital Camera Sales, Plus Nikon Sees Market Share Decrease appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Writer’s Favorite Lens – the Canon 40mm Pancake Lens

Like many beginning photographers, I’ve been a long-time fan of zoom lenses throughout much of my four year photography career. This past year, however, something in my brain shifted and I began to first accumulate and suddenly prefer using prime lenses. I began with the humble Canon 50mm f/1.8, eventually adding a 100mm f/2.8 macro lens. For many months, this combination of lenses paired with my Canon 6D became my preferred travel photography kit, replacing my beloved 16-35mm f/2.8. I loved the compact, significantly lighter kit that I was now able to tote around in my discrete Kata DSC 437 camera bag.

DPS 08

Several weeks ago, I decided to pull the trigger on another prime lens: the Canon EF 40mm f/2.8 STM pancake lens. Announced by Canon in June 2012, this is a relatively new lens and is the smallest ever made by Canon. Intrigued by its smaller size and slightly wider focal length, I decided to use it in place of my nifty fifty lens on a two week trip to New York and Montreal. The resulting images I took and overall experience shooting with the 40mm have secured it as my favorite new all-around shooting lens. Here are some reasons why you too may want to consider adding the 40mm pancake lens to your collection.

DPS Pancake lens 03

Makes DSLR cameras even more compact

At 22mm (0.86″) deep, the 40mm is significantly shorter than the 50mm f/1.8, which measures 41mm (1.6″) deep. The 40mm’s shortened length makes it easy to slip it into a relatively small camera bag, or even a medium sized purse.

DPS Pancake lens 02

Allows for the “perfect normal” focal length for full-frame cameras at a reasonable price

While the 40mm will work on every Canon DSLR ever made, it is optimized for use on full-frame digital cameras. I always found 50mm to be slightly too long for most of the casual street photography or travel shots that I want to take, and Canon doesn’t make a 35mm for less than $500. Priced brand new at $199.99, the 40mm is the perfect balance in terms of focal length and cost, providing an incredibly natural perspective to images at a reasonable cost.


Solidly built with instant manual focus override

Despite being drastically shorter than the 50mm f/1.8, the 40mm actually weighs about the same at 4.6 ounces (130 grams). This is likely due to the 40mm being constructed of both metal and plastic, giving it a very solid and secure feel, especially when compared to the mostly plastic 50mm f/1.8. Like the 50mm f/1.4, the 40mm also has an outer focus ring that can be adjusted at any time for instant manual-focus override when shooting in Canon’s One Shot focus mode.

DPS New York Food

Ideal for street, architectural, and food photography

The 40mm’s compact build makes it very easy to stow in casual bags of nearly any size. Its size also makes it more inconspicuous, making it ideal for street or documentary photography, as opposed to the popular 24-70 f/2.8 lens, which always seems to stick out. My travels through New York and Montreal saw many tall buildings and skyscrapers which were admittedly harder to shoot with the 40mm, making me miss my wider 16-35mm.


However, the 40mm was still wide enough to capture certain architectural scenes, and the benefit was the lack of distortion when captured at 40mm versus 16mm. This meant far less lens correction in post-processing. Another area of photography that is immensely easier with the 40mm is food and drink photography for the casual shooter.

DPS New York Food

If you want to make less of a show of grabbing a few snaps of a dish while being seated at a restaurant, the 40mm’s wider focal length and minimum focusing distance of 0.3m (11.8″)  – compared to 0.45m (17.7″) on the 50mm f/1.8 – is perfect for capturing what is immediately in front of you without having to stand up and fuss with angles.

DPS Portrait 02

The One Downside to Having a Pancake Lens

Throughout my three weeks of shooting with the 40mm, I had only one minor complaint that to me is the compromise of having a slimmer lens: lack of space to properly handle the lens during lens changes. It is much harder to attempt spur of the moment lens changes without accidentally getting fingerprints on one side of the lens or potentially dropping it.

Do you have a favorite lens? Have you tried this little gem? Share your thoughts in the comments.

The post Writer’s Favorite Lens – the Canon 40mm Pancake Lens by Suzi Pratt appeared first on Digital Photography School.

A Buyer’s Guide to Canon Normal and Telephoto Lenses

Canon 400mm lens

Canon EF 400mm f2.8L IS II USM lens

Andrew S. Gibson is the author of Understanding Lenses Part II: A Guide to Canon Normal & Telephoto Lenses, on 40% now at Snapndeals for a limited time only.

With so many lenses to choose from, it’s little wonder that photographers become confused about which option is the best. In this article I’m going to take a look at some of Canon’s best or most interesting normal and telephoto lenses, to give you a head start when it comes to understanding just what Canon offers in this part of their lens range.

But first, let’s take a quick look at the state of Canon’s lens line-up. I have no inside knowledge about which lenses Canon may introduce this year, but I do see a couple of emerging trends.

Trends in Lenses

The first is that Canon is not afraid to take an old lens and update it with a newer version. Good recent examples are the new EF 24mm and 28mm f/2.8 IS USM lenses. Both replaced older versions and included an Image Stabilizer (IS) which the previous models didn’t have.

The second trend is that newer lenses tend to be more expensive than the ones they replace. This is reasonable, as the newer lenses are better quality. If a new lens comes out and it seems expensive, you can be patient and wait a year or so for the price to drop if you don’t need it urgently. The two wide-angle lenses mentioned above have dropped in price by over 30% since their release.

That does mean it is possible that Canon will replace some of their aging normal and telephoto lenses in the near future. If you’re thinking about buying one and are worried about this, it’s up to you to decide how badly you need the current version. While the rumour websites like to speculate about forthcoming lenses, and are sometimes accurate, you never really know what will happen as Canon keep the details of new releases under wraps until the official day of release.

A good example of this is the EF 50mm f/1.4 lens. Some rumours sites are saying this is due for an update. But if this is true, and how far in the future it will happen, no-one really knows. Plus the replacement is likely to be more expensive than the current 50mm f/1.4 lens (but it may have IS). In the end, it’s up to you, but my advice is don’t spend too long waiting for new lenses – you could be waiting a long time.

Canon EF 200-400mm f/4L IS USM – the beast!

Let’s start off with this beast. It’s fun to speculate who would buy such an expensive lens. A professional sports photographer? Agencies like Getty or Reuters? This L series, super telephoto zoom, comes with a built in 1.4x extender (the only Canon lens to do so), a four stop Image Stabilizer, and a fixed f/4 aperture throughout the zoom range. It weighs over three and half kilos (7.9 pounds), but is not Canon’s heaviest lens. That honour belongs to the Canon EF 800mm f/5.6L IS USM lens (below), which weighs four and half kilos (9.9 pounds) and is another option for those of you with $13,000 to spend on new glass.

Canon 40mm f/2.8 STM

At the other end of the scale is one of Canon’s lightest, smallest and least expensive lenses. This 40mm pancake lens delivers excellent image quality, and excellent value for money. However it doesn’t have IS or a distance scale on the lens, features which may be important to some people.

How does this lens give such excellent quality for such a low price? It contains just six optical elements that measure little more than a centimetre across (0.4″). They are cheaper to manufacture than the larger elements found in Canon’s other lenses, and the result is a lower price.

This focal length is a short telephoto on an APS-C camera or a normal lens on a full-frame camera.

Canon 50mm f1.4 USM

Canon users aren’t lacking for choice when it comes to 50mm lenses. Canon makes four models, including the 50mm f/1.8, the 50mm f/1.2L and 50mm f/2.5 macro. But my favourite is the EF 50mm f/1.4 USM. It’s a third of the price of the more expensive L series 50mm lens, but has better autofocus and smoother bokeh than the f/1.8.

50mm lenses make great portrait lenses on APS-C cameras and deliver value for money in terms of image quality and versatility. You can use a 50mm lens with extension tubes or close-up lenses for close-up photography, or with a reversing ring on a longer lens for macro photography.

Read more about 50mm lens in my article Nifty Fifties – Why I Love 50mm Prime Lenses.

Canon 85mm f/1.8 USM

Canon 85mm lens

Another of my favourite lenses is the 85mm f/1.8. It’s an ideal portrait lens for owners of full-frame cameras. It’s also great for close-up photography with the addition of a 500D close-up lens. It’s a shame it doesn’t have IS, but that would push the price up. If you have deep pockets you can also consider the EF 85mm f/1.2L II USM lens, but bear in mind the wide f/1.2 aperture means it has a large front element (to let in the more light) and that makes the lens heavier and slower to autofocus.

Read more about this lens in my article How a Humble 85mm Lens Became My Favourite.

Canon 70-200mm zooms

Canon has four 70-200mm zoom L series lenses. Two of these have maximum f/4 apertures and cost less. The other two have maximum f/2.8 apertures. For each aperture setting there is both a non-IS and an IS model. This gives you plenty of choice, for what is a very versatile focal length. The EF 70-200mm f/4L USM lens is Canon’s cheapest L series lens and a great option for anyone wanting to experience L series quality on a low budget. The EF 70-200mm f2.8L IS II USM (above) is the most expensive and comes with a collar so you can mount it on a tripod.

Canon 70-300mm f/4-5.6L IS USM

If 200mm isn’t long enough for you then Canon’s trio of 70-300mm zooms may appeal. The only drawback of these lenses is the variable aperture, but it’s hard to avoid this along such a long focal length range. The EF 70-300mm f/4-5.6L IS USM is the most recent model, but also the most expensive. The EF 70-300mm f4/-5.6 IS USM lens is the least expensive and ideal for those on a tight budget.

The EF 70-300mm f/4-5.6 DO IS USM lens is an interesting alternative. DO stands for Diffractive Optics. The construction of the lens elements in DO lenses means they are smaller and lighter than their non-DO equivalents, making this a good option for photographers concerned with size and weight. In every other respect DO lenses are equivalent to L series lenses. Will Canon make more DO lenses in the future? I hope so, because they are a great idea. The only other DO lens in Canon’s range is the EF 400mm f/4 DO IS USM.

Hopefully that has given you a good overview of some of Canon’s more notable normal and telephoto lenses. It’s impossible to include every model, let alone those made by other manufacturers, but that’s where you come in. What normal or telephoto lenses have you purchased? How have they performed and what would you recommend? Let us know in the comments.

Understanding Lenses Part II: A Guide to Canon Normal & Telephoto Lenses

Understanding Lenses ebookMy ebook Understanding Lenses Part II will teach you how to get the most out of Canon’s normal and telephoto lenses. It contains a buying guide, takes a deep look at aperture and bokeh, and shows you how to focus accurately with telephoto lenses. It’s offered for a special price now on 40% off at Snapndeals for a limited time only.

The post A Buyer’s Guide to Canon Normal and Telephoto Lenses by appeared first on Digital Photography School.

Quickly toggle Ai Servo Focus on the Canon 5D Mark III

Here’s a quick tip for Canon 5D MkIII users.

Canon EOS 5D MkIII with EF 50mm f/1.2L

Canon EOS 5D MkIII with EF 50mm f/1.2L

If you don’t use this camera, this tip probably isn’t very helpful for you. Instead you might be interested to read about how I shot the above photo. Also, I recommend skimming through your camera manual to see what customizations are available. Customizing your camera’s button configuration can help taylor the camera to your shooting style.

With the 5D Mark III, Canon added the ability for users to change the function of several of the buttons on the camera body. In addition to this new functionality, Canon also moved the Depth of Field (DoF) preview button. It’s now on the left side of the lens, in approximately the 8 o’clock position, as you look at the camera’s front.

The new location of the DoF preview button and the ability to assign different functions to the standard buttons brings an interesting new shooting option. As I rarely use the DoF Preview Button, I’ve changed it’s function to toggle Ai Servo Focus when held down. To re-assign the DoF Preview Button to toggle Ai Servo focus mode on the 5D MkIII follow these steps:

1. Navigate to menu C.Fn2:Disp/Operation

Step 1

Step 1

2. Select the DoF Preview Button from the list of buttons

Step 2

Step 2

3. Change the button’s function to ONE SHOT AI SERVO

Step 3

Step 3

This customization allows me to stay in Single Shot AF mode, and toggle Ai Servo focus with my right ring finger if my subject starts moving. This is an incredibly flexible way to handle moving subjects and I like being able to toggle between two AF modes without moving the camera from my eye.

Give this a try and let me know how you like it. It took me a couple weeks to train myself to use my ring finger to toggle Ai Servo, but now that I’m used to it, I love shooting this way. As always, you can find me on Facebook.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Quickly toggle Ai Servo Focus on the Canon 5D Mark III

How to Shoot and Create a Composite Image for a Product Advertisement

Background and Vision

The holiday season is upon us, and what better way to start the season than to share our behind-the-scenes video on how to shoot a composite image? I needed to shoot and create an advertising image for UNDFIND’s Fishbomb, which is a versatile accessory pouch that can carry lens filters, memory cards, and other small items. So I figured, why not create a behind the scenes video and tutorial on how I went about the shoot. Plus, it’s not a bad stocking stuffer for the photographer in your life, especially since you can get two for $13 (50% off) with this sale, wink! =)

Anyway, because the Fishbomb is shaped like a Christmas tree ornament, I decided to decorate a Christmas tree with the Fishbombs and shoot our model, Maria, placing a Fishbomb on the tree. Here is the final image we will be working towards.

Fishbomb UNDFIND SLR Lounge

The Behind-the-Scenes Video

If you are interested in watching the full behind the scenes video on the SLR Lounge YouTube Channel, here is the video below.

How We Shot It


Camera: Canon 5D mkIII
Lens: Canon EF 50mm f/1.2 L USM Lens
Lighting: LED Light and Christmas lights on the Christmas tree

The biggest challenge that I encountered was how to light the Fishbombs in addition to lighting Maria, the Christmas tree, and the environment. The Christmas lights were used to light Maria and the environment.

However, when we hung the Fishbombs on the tree, we noticed that the front of the Fishbombs were not illuminated by the Christmas lights. This meant that we had to light the Fishbombs using another light source; I selected an LED light with an adjustable temperature so that I could color match with the tree’s natural Christmas lighting.

However, I ran into another problem. The LED light was casting a harsh shadow against the wall which destroyed much of the warm, ambient light from the Christmas tree as you can see in Shot 1 below.

The easiest way to solve this lighting issue was to light and shoot two separate images, one for the model and the environment, and the other for the actual detail on the Fishbombs and the tree. Afterwards, we can composite both images together in Photoshop via layers.

For each shot, I had the camera placed on a stationary tri-pod to make it simple to combine both layers into our final composite. So let’s look at how I shot each image.

Shot 1: The Fishbomb and Tree Details


Shutter: 4.0 seconds
Aperture: f/16
ISO: 100

For the first photo, I lit the Fishbomb and the front of the Christmas tree with the LED light. I also dragged the shutter speed and used the smallest aperture possible in order to get a twinkling/starburst effect from the Christmas lights. I didn’t have to worry about any camera shake because the camera was on a tripod and was triggered with a shutter release. The tree and the ornaments were completely still as well since we were in a closed environment.

Shot 2: Maria and the Environment


Shutter: 1/8 seconds
Aperture: f/2.8
ISO: 200

This image was lit strictly by the lights on the Christmas tree. Because I want to minimize any motion blur with the model, a quicker shutter speed was required. Therefore, I used a wider aperture and a higher ISO in order to attain a shutter speed of 1/8 seconds. Even then, I still had to ask Maria to hold completely still during the photo to prevent any motion blur.

How We Processed It

In Lightroom, I applied the Soft Portrait preset from the SLR Lounge Lightroom 4 Preset System to both images. Additionally, I shifted the Tint and the Temperature in order to add a warm, intimate glow reminiscent of a fireplace. Once I achieved the look that I wanted, I exported the two images into Photoshop via layers for compositing.

In Photoshop, I used layer masking to reveal the Fishbombs and the tree details from the first image over the second image of Maria and the environment.

Photoshop Layer Mask

After a little bit of clean up in the hair and the cloning of an extra branch to the top of the tree, this is how the image looks.

Fishbomb UNDFIND SLR Lounge

Finally, here is how the UNDFIND Fishbomb ad looks after I added the text:

UNDFIND Fishbomb Advertisement

Hope you all enjoyed this article! If you are interested in picking up some Fishbomb’s for stocking stuffers, the deal is available on UNDFIND’s Camera Bags website through the end of the year.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

How to Shoot and Create a Composite Image for a Product Advertisement

Why You Might Want To Consider A Full Frame Fisheye Lens Even If You Have A Crop Sensor Camera

There are few things better in life than having something go wrong that leads to the discovery of something even better.

Such is the case with my plan to test out a Canon 8-15mm fisheye lens courtesy of My intent with the lens was to take it with me to the wilds of Arches and Canyonlands National Parks in Utah for some crazy, circular images. The problem is I lack a full frame Canon camera, but would be traveling with Michael Riffle, who owns a Canon 5D Mark III. He accepted the challenge to test the lens, being familiar with fisheyes himself.

One thing led to another and we never got around to testing the lens on his camera. Instead, I often found myself using the lens on my Canon 7D, a crop sensor camera. The Canon 8-15mm is intended to fit a full frame sensor and produce, at 8mm, a fully circular image, much like this example from a Sigma 4.5mm on a crop sensor camera.


What happened instead was a cross between this full circle and a more traditional 15mm on a crop sensor. The 8-15mm lens will show edges of the circle when below 10mm but will otherwise fully cover the sensor from 10mm-15mm. A major difference from a non-fisheye lens, though, is the curving in the image.

For instance, here are two shots, both taken at 10mm. The difference: the first lens is a non-fisheye Canon EF 10-22mm lens and the second is the Canon 8-15mm fisheye.



Both shots are taken from nearly the same perspective (the fisheye is taken from the position of the Nikon D800E in the first image) but the fisheye gives a different feel. I only made slight clarity and level adjustments in the photos and did not crop them, so this is what you can expect at 10mm.

Below 10mm the black edge of the area outside the fisheye is seen. How bad is it? It depends.

At first it annoyed me to have the incomplete image. Neither full fisheye nor filled frame. Like this:


But then I started finding instances where it worked well. The arches found in these parks lent themselves naturally to the form factor. The more I experimented, the more I enjoyed the effect.

I realize not everyone will like this look. By the time you read this, there might be a dozen notes in the comment section below stating how horrible it is. But this is photography and it is art, so it doesn’t really matter what I like or the commenters like. It matters what you like.

Below are more examples from my short trip. If they intrigue you to give the lens a try, all the better. Some have the corners blacked out and some are zoomed in slightly. Experiment, play, have fun.

(Click on an image for a 1000px version)

The first set of images are from Mesa Arch in Canyonlands NP at sunrise which was packed with 20 or more photographers. The second set is from Delicate Arch in Arches NP at sunrise with absolutely no one else around.











A special thank you to for giving me the chance to play with the lens.

Post originally from: Digital Photography Tips.

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Why You Might Want To Consider A Full Frame Fisheye Lens Even If You Have A Crop Sensor Camera

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