general

Using the Canon W-E1 wifi adapter

When Canon announced the W-E1 wifi adapter for the EOS7D MkII and the EOS5S and 5SR I was decidedly underwhelmed for two reasons;

  • The first was that it was not backwards compatible with the two EOS5D MkIII bodies that I had at the time.
  • The second was that it took away the ability to record to two cards when it was in use.

At the time I couldn’t see any advantage over any of the SD based transmitters from Eye-Fi or Toshiba amongst others. I didn’t buy one and I couldn’t see myself buying one either.

Fast forward ten months and my need to use remote cameras controlled by an iOS devices has grown and I only had one – the wonderfully simple Canon EOS6D. I didn’t want to use either of the EOS5D MkIV bodies as a remote and so I bought the W-E1 adapter to use in my EOS7D MkII.

I know that having used all sorts of wireless devices with all sorts of Canons probably made this dead easy for me but from taking the SD card out of the packaging I was up and running in under five minutes. Put simply, this device is really easy to use. It doesn’t do very much – it just allows you to browse the images on the camera’s Compact Flash (CF) card or to control the camera from your phone, tablet or computer. I got it working, clamped the camera in place, walked away and started taking pictures. Easy. I don’t think that it will be in the camera every time I use it – my love of having the files written to both memory cards easily trumps the need to be able to use the W-E1’s wireless functions most of the time but it will live in the bag with the 7D MkII at all times.

Shot using Canon EOS7D MkII camera remotely controlled via a smartphone app and then downloaded to the phone before being edited using the FSN Pro app and uploaded to Dropbox direct from the phone. © Neil Turner, May 2017

The thing about owning and using all of the various wireless options is that I find myself doing more and more work where getting images away quickly as well as shooting remotely. Versatility has gone from being a useful day-to-day option to being an absolute necessity. Spending yet another £40.00 inc VAT to give me more options hurts but, less than two hours after buying the accessory, it has pretty much paid for itself.

Canon’s flash evolution

When I switched to Canon cameras from Nikon in 1995 the one thing that I missed from my old F4S cameras and my old SB25 flash units was the accuracy and reliability of the Nikon TTL flash. Canon, with all of their promises for the EOS1N and Speedlite 540EZ combination just couldn’t quite match what I had left behind. I have no idea how Nikon managed to get their off-the-film-plane metering to be so good but it was very good indeed.

Coincidentally, it was about this time that I started to use high quality battery powered lights. The Lumedynes that I took delivery of in 1996 changed my professional life and TTL flash became something that I used when I absolutely had to.

Fast forward to 1998 and the arrival of the first decent digital cameras we had (the Kodak DCS520/Canon D2000) and flash took a big backward step. There was no ‘film plane’ for the cameras to meter from and we had to dig out old Vivitar and Metz flash units with old fashioned auto settings just to get somewhere near where we needed to be with our exposures. Canon introduced the 380EX flash which helped but it was basic and relatively low powered with no swivel head and working with them wasn’t a patch on shooting with the pre-digital Canons, let alone the film based Nikons.

Time passed and with every new camera and every new flash unit things got a tiny bit better but I have never felt as comfortable or as confident with TTL flash on digital Canons as I did with film Nikons. There were work-arounds – I used flash exposure compensation at the same time as reviewing the LCD screen and using some pretty good guesswork which, when used with RAW files, meant that we were always able to do the job but it was never without effort in the way that you used to be able to shoot flash with the far less forgiving transparency film.

That was until now. Strike up the band. Hang out the bunting. Canon have, in my opinion, finally done it. They have a camera and flash combination that handles TTL as well as anything that I’ve ever used professionally. A few weeks and a few jobs with the new Speedlite 600EX II RT on my EOS5D MkIV cameras have convinced me that twenty plus years of being unsure with on-camera flash are over. Congratulations to everyone at Canon involved in this evolutionary process – well done.

Footnote: I have owned and used 220EX, 380EX, 420EX, 430 EX II, 430 EX III RT, 540EZ, 550EX, 580EX II, 600 EX RT Speedlites before arriving at the 600 EX II RT. I’ve had the ST-E2 and ST-E3 RT transmitters and any number of external flash packs and light modifiers. The joys of being a photographer – no wonder so many of colleagues swear by ambient light.

Talking about pictures

On the beach at Fisherman's Walk just before a rain storm.© Photo Neil Turner

May 2015.  On the beach at Fisherman’s Walk just before a rain storm. © Photo Neil Turner.

I spent some of my day yesterday adapting a 2013 Keynote presentation with lots of my work in it ready to go and give a talk to a local camera club. I removed two thirds of the pictures and added a lot of different and newer ones and the thing that I had in the back of my mind at all times was that I had to have something interesting and/or witty to say about each one. That rules out just showing your current portfolio – although a good percentage of the photographs are the same ones – and means that you spend a lot of time remembering and fact-checking those stories too. It is actually a really good feeling to go back through pictures and smile about them even though they were mostly taken for money and not for the love of taking them. What a great way to make a living!

The promise to do this talk came about after a chance meeting in a cafe last year. My wife and I got chatting to another couple and we talked about my camera that I had (and pretty much always have) with me and it turned out that they helped run a local camera club. The invite was issued, a date was set and I’m due there in a couple of weeks. Unlike a lot of photographers I love to talk about my own work because it gives me a chance to go back through and get some fresh ideas from some of my old ones.

Refreshing an old presentation meant that I had to make a decision about what I wanted to say about myself and my thirty plus years working as a photographer and so I decided to start off with a few questions that I want my audience to ask subconsciously every time they saw a new picture. From there I decided to include examples of every genre of pictures that I do in the opening few minutes; corporate, editorial, news, portraits, personal work and schools are all in there just to give a flavour of who I am and what I do. The final act was to throw out about fifty of the one hundred and thirty pictures that I had accumulated because I only have about an hour and a half!

If you want to get a flavour of the themes there are a couple of old blog posts that you can read. The first is about what kind of photographer I see myself as and the second is about how many different types of picture there are. Of course I’ll throw in some anecdotes and lots of ad-libbing before the questions (hopefully) start to flow.

Now that I have a ‘new’ presentation I might even do a few more talks if and when I am invited…

Editing, editing and more editing

olympic_park_pano

The day that the taxi dumped us in the wrong place and we had a yomp across the Rio Olympic Park to the Main Press Centre. ©Neil Turner, September 2016

By the time I leave here tomorrow I will have been in Rio de Janeiro for three weeks. In that time I have managed to take less than a dozen photographs – none of which are of any note whatsoever. I’ve been here as part of the OIS Photos team as one of two editors with my colleague Julia Vynokurova grabbing RAW files from a seemingly endless stream of FTP transfers from the four amazing sports specialists that have been here shooting the Paralympic Games for the Olympic Information Service.

Editing and captioning other people’s work is something that I do from time-to-time and it is a whole different skill set from shooting and editing your own pictures. It may sound obvious but I wasn’t there when the pictures were taken and so I have to judge them against criteria set down by the client and by each individual photographer on the team. They only send the pictures that they judge to be their best from the LCD on the back of the camera and so the editor has to assume that the photographer likes the picture. Some only send the cream whilst others send a wider selection to be narrowed down at the edit stage and you get to learn really quickly which camp each of them falls into.

Some photographers add voice captions to their pictures whilst others include frames of scoreboards, close up of competitor’s numbers – basically they need to do as much as they can to help the editors identify people, places and events so that captions can be as full and accurate as possible. It all happens really quickly and turning the photographs around looking their best consistently takes skill.

The photographers that we have been working with here are shooting with different cameras too: Bob Martin and Thomas Lovelock were using Nikon D5 bodies whilst Simon Bruty and Al Tielemans were using Canon EOS1Dx MkIIs. That means subtle but important differences with the file handling – although I don’t think that there has ever been so little difference between the way the two major manufacturers top-of-the-range DSLR’s RAW files have rendered.

The picture preparation, even with the truly challenging light that we have had both indoor and outdoors here, is in many ways the easier bit. Getting the captions right takes time – especially if there’s no voice caption and no obvious clue who is in the picture. We have had to turn detective more than once eliminating people from the list of who it could be. The schedules and results system provided by the Rio Media service has been great along with a bit of selective Googling have combined to get the captions done.

Then there’s distribution. Getting our entire edit onto the www.oisphotos.com website (Photoshelter has proved to be really valuable again) quickly with a selection out to seven different wire agencies even more quickly has meant some long hours and intensive work. It has been worthwhile. We have got quality Paralympic images out there being used in printed and online media all over the world day after day. Athletes and their families have Facebooked and Tweeted us and Paralympic associations, federations and national committees have used our pictures right across social media as well as on their websites.

The pictures are there for everyone to see on the OIS Photos website and any and all editorial use is free. Have a look at the site – I’m going to do just that when I get five minutes too.

Canon feature request?

I had an email from someone who has followed my blogs for many years this week. He’s a working news photographer who I bumped into on a job a few weeks ago. He had noticed some tape on the top of my Canon EOS5D MkIII and my EOS 7D MkII and simply pointed to his cameras and said “snap”. He had tape on his cameras too – doing precisely the same job that the tape on mine does and went on to ask what the chances of Canon making a change to future cameras that would eliminate the need for us to tape that particular feature on our cameras. The email was to remind me that I had promised to do a quick blog post about the issue.

Taped diopter adjustment on a Canon EOS 5d MkIII

Taped diopter adjustment on a Canon EOS 5d MkIII

The tape on our cameras holds the built-in diopter adjustment dial and stops it from being moved in the bag or over your shoulder – something that happens to me a lot if I remove the tape. I have no idea if anyone from Canon’s design department reads this blog (I doubt that they do) but it seems to me that if enough of us sufferers from this problem mention it to them when we talk to them then they just might do something about it. Nikon have a lock on the diopter adjustment on some of their professional cameras so it has to be relatively easy to do.

The EOS5D MkIV will be appearing later this year if all of the rumours are to be believed so this may be a little late but you have to give these things a try.

Canon employees and dealers reading this… please help to reduce my gaffer tape bill. Soon. Please.

A Quick Sony RX1 Update…

Dusk at the Stampesletta during the Winter Youth Olympic Games, Lillehammer Norway, 17 February 2016. Photo: Neil Turner for YIS/IOC Handout image supplied by YIS/IOC

Dusk at the Stampesletta during the Winter Youth Olympic Games, Lillehammer Norway, 17 February 2016. Photo: Neil Turner for YIS/IOC Handout image supplied by YIS/IOC

I’m very busy out here in Lillehammer, Norway working with an amazing team of sports photographers covering the Youth Olympic Games. I have been busy editing all day, every day and haven’t had as much time to go out with the Sony RX1 as I’d like. I did, however, shoot a few frames in the dark the other night on the main park. I’ll post more when I get home but I just wanted to say that the RX1 is performing really well despite the temperatures being below freezing.

If you want to see the work that my colleagues Bob Martin, Simon Bruty, Al Tielemans, Arnt Folvik, Thomas Lovelock, Jed Leicester and Jon Buckle are doing please go to the YOGPHOTOS website

Getting to grips with my Sony RX1

Stage door of the Apollo Theatre, London. ©Neil Turner, January 2016

Stage door of the Apollo Theatre, London. ©Neil Turner, January 2016

A week ago I was shocked when the lovely folks at Castle Cameras here in Bournemouth got in touch to let me know that I’d won a new camera in a Sony competition that they were running on their Flickr site. I had completely forgotten that I had entered and when they told me to come and collect my shiny new Sony Cybershot RX1 I popped up later that afternoon. I spent most of the rest of that day playing with the camera and (shock horror) reading the instruction manual. I checked out what “the internet” had to say about the camera and stuck it in my bag determined to give it a proper outing at the first opportunity. You can see the winning picture here.

The weather hasn’t been great and I have been a bit busy with the day job and so it took a full six days before I got a proper chance to take some pictures. I happened to be in London with about three hours to kill yesterday and even though the weather was poor I was determined to have a wander and see whether I could get to grips with the RX1. I don’t really write full-on product reviews because there are other people that do it so much better than I can and this particular model Sony has been around for quite a while. It is, however, a very close contemporary of my beloved Fujifilm X100S and I was keen to find out whether the Sony could do two things:

  1. Outperform the the X100S for image quality, handling, battery life etc
  2. Be as much fun to use and be as nice to use as the Fuji has been

My first worry was that the Sony doesn’t come with a viewfinder of any description other than the large and very clear LCD on the back of the camera. The cheapest viewfinder that Sony sell is just over £300 which would make the RX1 more than twice the retail price of the Fujifilm X100S. I was excited by the fact that the Sony has a full-frame sensor and the write-ups for the fixed Zeiss 35mm lens meant that I was actually looking forward to some low-light photography. So I headed out with a fully charged battery and a 16Gb SD card to see what I could see. Walking from Mayfair through China Town and Soho to Covent Garden and back I was looking for pictures that might once day grace my personal work folio and/or my Flickr stream. As is often the case on these days with no particular brief a theme started to suggest itself and for the first hour or two I found myself snatching pictures of people texting and I started to build a gallery in my mind.

As it got darker the texting pictures started to dry up and it was then that my favourite pictures of the day started to happen. Dusk, as I have written before, is just about my favourite time of day to take pictures and yesterday was no exception. Here below is probably my favourite picture from the day:

31 January 2016. London, Greater London. London on a cold and wet January Sunday afternoon.. Soho Neil Turner

Soho, London on a cold and wet Sunday afternoon. ©Neil Turner, January 2016

There’s only one problem with this picture. It wasn’t taken on the Sony RX1. Why? Because the battery had given up twenty minutes previously and I didn’t have a spare. I had taken my Fujifilm X100S “just in case” and I’m glad that I did because this picture wouldn’t have worked on my iPhone! The X100S has poor battery life and because of that I carry three spares when I go out for the day. There are lots of things that you can do in the set-up menu to restrict the battery-drain including using the optical viewfinder. The Sony RX1, on this evidence, has a bigger problem than the Fujifilm with power and I would bet that the big bright LCD screen is the biggest part of that problem. It doesn’t end there either because Sony don’t even bundle a battery charger with these cameras – they expect you to charge the battery in-camera which means that you have to switch the thing off when you might want to keep shooting. I know that there are plenty of after-market chargers available for these common batteries but really? At that price? I understand that batteries get a bit better after a few charge cycles but less than two hours from brand new one is unacceptable. On the day I had my external battery which I use to recharge my iPhone with me and I spent the final hour walking around shooting with the X100S and with the Sony RX1 plugged into that external battery in my bag. I would bet that adding a viewfinder and refining the power settings on the Sony would be a big help but this camera needs to wow me if I’m going to spend £300 to find out.

What about the low-light performance? There’s no arguing that here the Sony is very, very good. At 3200 ISO it is a match for any of the Canons that I use in the day job and so I’d say that it is as much as two stops better than the Fuji when shooting RAW based on the evidence of the few pictures that I’ve taken.

Which brings me to the Carl Zeiss 35mm f2 lens on the Sony RX1. I’d rate it at somewhere between very good and excellent and, again, a fair bit better than the 23mm f2 on the crop sensor Fujifilm X100S. Surprisingly, the Zeiss lens suffers from some barrel distortion but the lens correction algorithm in Adobe Photoshop’s Camera RAW sorts that out with ease. I will do a direct comparison between the Sony and a Canon 6D with a Canon 35mm f2 lens at some point and I would expect it to be far too close to call.

So far the Sony wins on image quality and lens quality and the Fujifilm wins on battery life. Their respective pluses and minuses on the handling tests mean that they are pretty much even when shooting with the LCD but that the Fuji is streets ahead because it has the electronic and optical options when you don’t want to use the LCD. I’d rate the Sony as the marginal winner on exposure accuracy and a clear winner when it comes to auto focus speed and accuracy – although this was only a fair fight when using the LCD screen to focus.

For build quality the honours have to go to Sony (given their respective pricing that should be a given) but the difference isn’t as wide as you’d expect. The two cameras have OK menus but neither wows me with them. I suspect that is largely due to the fact that I find Canon’s menu systems to be both easy and familiar.

The kinds of pictures that I like to shoot with these kinds of cameras aren’t paid work. They come under the categories of food for the photographic soul and fun. This is where the Sony loses out badly. I don’t like shooting with the LCD very much and that means that I would have to pay out a lot of money to find out if the Sony can catch up. They offer two different viewfinders and that’s expensive if you want the choice. The newer RX1R MkII has a small electric viewfinder – which would be most welcome.

At the end of day one with the Sony I have some choices to make if I want to continue to take advantage of the superior image quality on offer. Do I:

  • Spend £300+ on an electronic viewfinder?
  • Spend £50+ on spare batteries and chargers?
  • Hope that after spending the money, the camera becomes more fun to use?

I’m off to Norway for a two week job next week and I’m going to take the Sony RX1 with me. One afternoon in poor light with a failing battery isn’t enough time to make my mind up about such an interesting camera. That means that the spare battery purchases will happen anyway. If I find that by the end of February the fun quotient of the Fujifilm outstrips the quality one of the Sony then I may just end up selling my prize camera on.