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- A quick trip back to Sorrento
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- The miniature world of London commuters
- Some sound advice
- LCDVF: an entry-level viewfinder for DSLR film-makers
- Time for a refresh
- Google+ gets a new lightbox
- Hampshire frozen in time (capsule)
- What the new Canon C300 can do
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Category Archives: kit
LCDVF: an entry-level viewfinder for DSLR film-makers
I hardly ever do product reviews and don’t intend to change that now. But if you’re using your DSLR to shoot video, and haven’t invested in a viewfinder, you might find this post useful.
As you no doubt know already, focusing using the 3-inch (or smaller) LCD screen at the back of your camera is a pain. Initially it didn’t bother me, I simply accepted it as one of those features you’d need to put up with. Back then, I used my Canon to take pictures and only occasionally filmed something. But with time I started using the video feature more and more. And experienced more and more disappointments. Why?
What I thought was pin-sharp on the LCD screen turned out to be out of focus when watched on a big computer screen. I was aware of Zacuto and its products, but could never justify the expense. Their fantastic-quality viewfinders are solid, adjustable and attach to your camera using a sturdy metal plate. But for casual use, £300+ is a bit steep.
With time, however, the need to have one of these became apparent. Not only do they allow you to focus and see the magnified LCD screen clearly (the magnification is usually between 2x and 3x), but also provide extra support for the camera. So I started looking at other options.
I first played with the Zacuto to set my expectations and learn what I really need from the viewfinder. Luckily, I don’t wear glasses, so diopter correction wasn’t a critical factor. Neither was the metal plate. (However, initially I saw this as the only option, as I didn’t want to glue anything to my screen. Soon, I got over that, more on that later).
I knew I wanted something sturdy and, above everything else, clear, sharp and without any distortions.
There are several options available for Canon DSLR users (like the 5D/7D or the 550D) – and they cover a wide spectrum of prices: from around £25-£30 per piece to £450 (yes, some viewfinders I looked at were even more expensive than Zacuto products).
I quickly identified the LCDVF as one of the best entry-level viewfinders, at a third of the price of its Zacuto cousin. You can buy it for around £85-100 online or in some bigger camera shops in the UK.
It’s simple, but provides a 2x magnification and a clear, distortion-free picture. You wouldn’t believe how many other viewfinders with cheaper glass suffer from barrel distortion issues. I’ve tried a couple and the experience is really bad: not only are the edges of the image soft and blurred, but also focusing – or checking the focus – outside the centre of the image seems problematic.
As I mentioned earlier, I was a bit sceptical about gluing anything directly to my LCD screen. And in order to use the LCDVF you first need to attach a small metal frame to your screen. The frame comes with an adhesive strip that sticks firmly to the screen and becomes a more or less permanent fixture on your camera. (Yes, you can remove it, although I haven’t tried yet.)
The frame is needed to hold the viewfinder in place. The latter click into place using 4 small magnets, which means that – provided you glued your frame on correctly – mounting and demounting will always be easy and the viewfinder will remain properly aligned with the screen. And allegedly the magnets are strong enough to hold it in place, but not strong enough to mess with the camera itself. Let’s hope so.
So far, it’s been great and I’m glad I bought it.
If your budget doesn’t allow you to splash out on any expensive viewfinders, you can’t go wrong with this one. If you want a more in-depth review of the LCDVF, Nino Leitner and Philip Bloom have written extensively about it. For full specs and compatibility see the LCDVF website.
What the new Canon C300 can do
I honestly cannot believe the Canon 5D Mark II has been around for three years already. What a camera. The impact it’s had on photography – and videography – is immense.
And while it’s not cheap, it’s likely to remain the king (queen?) of full-frame HDSLRs for a while.
Unless you’ve participated in the 17-month simulated Mars mission, you probably already know that Canon has recently announced its latest baby. The Canon C300 offers film-makers an unbelievably advanced tool – at an ubvelievable price too.
As the camera has not yet been officially released, there have only been a handful of videos showing the camera’s output. The latest video, however, is slightly different from the more cinematic samples we’ve seen so far. As its author, Jonathan Yi, admits, “Canon, not thrilled with my sense of humor, does not credit or condone this video, but I think it shows a lot of the camera’s strengths.” It certainly does.
If you are a serious filmmaker – and have £14,000 to spend – here’s what the money buys you:
For more technical specs see here. Also, the British Journal of Photography has published an interview with Peter Yabsley, responsible for business development at Canon Europe, on how this camera was created.
The best iPhone 4S video so far
Just don’t roll your eyes. Yes, the latest iPhone does have a really impressive 8-megapixel camera capable of shooting HD video. Get over it.
After the initial avalanche of let-me-be-the-first-to-show-you-how-good-it-is videos and images, first *really* impressive iPhone 4S videos begin to emerge. Like this one, called “Framed”.
There’s a mini story, very lovely cinematography and the filmmakers relied on the iPhone’s image stabilisation to make the shots look really smooth. They also relied on an additional Glidetrack slider and a tripod for smooth panning shots and movement.
The film was edited in Final Cut Pro (you can’t do more than some basic edits on your iPhone, unless it’s some casual footage) with some Magic Bullets colour grading. Which is what you would do with footage from other, more ‘professional’ cameras. The iPhone has now joined their ranks.
I’ll say it again: get over it.
Two new tools for video makers of all abilities
Woah. How do you keep up? Just days after Apple released its latest iPhone, the 4S, Canon announces its latest high-end DSLR, the EOS 1 D X. No, they probably won’t compete, but in terms of video, both the consumers and the pros have just been given two extraordinary tools.
There are two links you should explore if you want to know why.
The first one is this really mind-blowing (in terms of the unexpected outcome) comparison video, where Canon 5D Mark II’s footage is compared side by side with iPhone 4S’s HD output.
Yes, I know – the latter is in no way a replacement for the former, but even with its really basic controls (AF/AE lock and image stabilisation), the iPhone achieves stunningly good results. Professional filmmakers won’t swap the 5D for the 4S, that’s for sure (although many will no doubt experiment with it – and the results can be amazing), but amateurs on a budget and video enthusiasts have now a really powerful tool in their hands. No wonder the phone is likely to become Apple’s fastest-selling gadget ever. (refresh the page if the vid below doesn’t load)
iPhone 4S / Canon 5d MKII Side by Side Comparison from Robino Films on Vimeo.
At the opposite end of the spectrum – where the professional crowd gathers – we have Canon’s latest creation, the 1D X – yours for £5299 on pre-order. Here’s a camera which dramatically improves on what Canon’s high-end DSLRs already had to offer, but also adds solid (although not groundbreaking) video capabilities.
DP Review does a good job of analysing the major features of the upcoming camera, but what you really want to read is Dan Carr’s 10 Awesome Things About The Canon EOS 1D X You Might Not Know. A dual CF card slot, automatic movie file creation (to bypass the 4GB CF card limit), on-screen audio levels – just a few features many film makers will welcome with open arms. (Although the 5D Mk II and 7D still remain fantastic – and much cheaper – alternatives for most DSLR video makers).
There’s no doubt that shooting stunning video – at least technically stunning – will now be much easier than ever before.
This is exciting.
The mystery of my crashing Kindle 3 solved at last
My daily commute over the past few weeks has been really frustrating. This time it wasn’t the wrong kind of snow or cancelled trains. It was my Kindle. The gadget I quickly fell in love with last year, the device that revolutionised my reading habits, was in danger of becoming a huge disappointment less than 9 months after I first bought it. Why?
Every morning and every evening I struggled to turn it on. It became unresponsive. I would struggle for 20 or so minutes to restart it on the train – most of the time unsuccessfully. I followed the instructions, but the screen always remained frozen on one of Kindle’s many lovely screensaving pages and the device would remain dead, save for the occasional blink or two of the green power light.
It would only start working again when fully recharged – which I had to do daily, despite Amazon’s claims that the battery can last up to 30 days (and until the problems started it actually did).
I googled it. Many people reported similar issues, but the only solution others seemed to suggest was a hard restart. It would probably work if I could actually restart it, but I couldn’t. So I turned to Amazon Kindle support for help.
The whole experience was actually painless – they called me straight away, the support lady was helpful, but her first question after confirming my identity was: “Are you still using the leather Kindle case you bought from Amazon in Spetember?”
“Yes, why? Is it causing any issues?”
“I just want to eliminate all possibilities,” she replied, avoiding confirming or denying anything. We agreed that I would use my Kindle for a few days without the cover. It never crashed once. Amazon called back and upon learning that my Kindle was actually ok immediately refunded me for my leather cover and told me not to use it again. Then helpfully emailed my a link to a new range of leather covers – with “updated design”.
So what was the issue? They didn’t tell me. But it turns out that when I was googling for an answer, I left out a crucial keyword – ‘cover’. Had I added it to my Kindle troubleshooting searches, I would have learned much sooner that the ‘faulty’ cover was actually a known issue and that many people before me had theirs refunded.
The Amazon cover relies on two hinges, or hooks/grips, that are made of metal. They are painted – or insulated – but with time that paint wears off and the metal hook touches something (clearly another metal bit) inside the device, causing it to crash.
Since I stopped using the case my Kindle 3 hasn’t crashed or frozen once. If yours has become unresponsive – and you’re using the original Amazon case – try the above steps.
And then ask Amazon for a refund.
Tagged amazon, kindle
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Which Canon lens to choose?
How many times have you asked yourself this question (assuming that you own a Canon camera)? We all want to spend our money wisely and read endless reviews and comparisons, search for the best prices and pray that the next Lotto ticket solves all our photography kit problems. Actually, the last one might be just me, but never mind.
I don’t have sufficient knowledge of all Canon lenses, but filmmaker Michael Gebben found someone who does. On his website has posted a video in which a Canon guy compares seven prime lenses currently produced by Canon.
It was filmed during a recent workshop in New Orleans which was sponsored by Canon and it was clearly made with filmmakers in mind.
The quality of most of those lenses is stunning. My favourite is the 50mm f1.2 lens. Sharp, ultra-fast and ultra-desirable.
I won’t check its price for now. Will wait for that Lotto win.
Video found via Canon Filmmakers.
Related articles
- Canon Applies For Patent On New 24-70 F/2.8L Lens (crunchgear.com)
- The Best Telephoto Lens for Wildlife Photography: Buying Guide & Recommendations (brighthub.com)
- 102 Year Old Lens (e-clecticism.blogspot.com)
My nifty fifty
Every now and then I step out of my comfort zone and leave my lovely 24-104mm zoom lens at home. I take with me a random lens I normally don’t use (I don’t have zillions of them to choose from, sadly) and try to spend a whole day taking pictures just with this one lens – and nothing more.
Last weekend I did that with the Canon 50mm f1.8. And the past couple of days made me realise that in fact this is my favourite Canon lens so far.
After years of using zoom lenses or cameras with zoom capabilities, the ‘plastic’ 50mm was my first prime lens. Mainly because I couldn’t afford anything else.
At (then) just under £60, the lens offered fantastic quality, great speed and opened a new world of prime lenses for me. I remember when I swapped my old zoom lens for this one – and initially couldn’t cope with its simplicity. What? No zoom? You actually need to step back/forward? No image stabilisation?
No, none of those things. But, unlike my previous f4.0 lenses, this one let so much light in that I quickly realised what I’d missed before: the ability to take portraits (as this is when this lens really shines) in low-lighting conditions.
It does take a few attempts to get used to this new reality, if you’ve never used a prime lens. But the rewards are fantastic: crisp, punchy images, fantastic depth of field and the ability to take great pictures in challenging lighting conditions.

So why do I love it so much? Here’s why:
- It allows you to separate your subject from the background and makes it more prominent.
- It challenges you to rethink, reframe, refocus. You can’t stand in one place and rely on your zoom. You have to move and make the effort to frame the image.
- It’s absolutely indispensable for portrait shots. Whether it’s just one person on their own or a face in the crowd, you can focus on them and make their face – or a particular feature of it – a strong focal point of your image.
- It’s incredibly fast. If your standard lens’s aperture is in the region of f3.5-4, then working with a lens which allows you to get crisp images at night with f1.8 makes all the difference. Combine it with a good DSLR, which is capable of producing images at ISO 1600+ without any visible noise and you can really enjoy an evening photo walk without a flash.
- On a bright sunny day you can take images at extremely fast shutter speeds and either get really sharp images, or you can increase the exposure time and experiment with excessive light.
- You learn a lot about depth of field by shooting with this lens in different circumstances.
- It’s really small and light.

This list is probably not exhaustive.
I know its price has gone up in recent years, but it’s still incredibly cheap and I can’t wait to use it again.
Do you have a nifty fifty and – more importantly – do you give it as much attention as it deserves?
Tagged Canon 50mm f1.8, lens
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Will mobile phones kill off low-end cameras?
What is your primary camera? Is it a DSLR? A lower-end pocket digital camera? Or is it a mobile phone?
Chances are it’s probably a combination of at least two devices, one of which is primarily used as a phone. I use a good DSLR, but for projects like The Best Camera I rely exclusively on my iPhone, which as we all know, is not particularly good at taking pictures.
More and more people use their mobile phones as a camera (or instead of one) as the quality of the images they produce has improved dramatically over the past few years. And according to a recent report by iSuppli, the low-end digital camera market is under great pressure from mobile phone manufacturers who release more better quality camera phones boasting, among other things, high resolution image sensors.
iSuppli forecasts that by 2013 the average mobile camera resolution will rise to 5.7 megapixels. Between 2008 and 2009 this resolution rose by 0.6 megapixels, from 1.5 to 2.1 Mp. Within the next three years compact digital cameras will be able to produce images which are, on average, up to 13.9 megapixels in size.
iSuppli reckons that with better image quality management tools mobile phone manufacturers might be able to persuade those who wouldn’t risk “a precious family photo” to ditch their compact cameras for better performing camera phones. It also predicts that Asian and European users will be more willing to make the jump.
It’s all fine and makes sense, but I’m surprised iSuppli in its report ignored one, crucial aspect of the whole issue: the ability to share your photos with the world instantly.
I guess this will be the real deciding factor here. Whether you’re at a gig, witnessing something newsworthy or just want to take a quick photo of something to share, you are probably less worried about the overall quality (which in most cases wouldn’t be that much better if you had a small compact camera on you anyway), but more about being able to share the image.
Mobile phones allow users to do MMS a picture, email it, share it instantly on Facebook, Twitter, other networking sites, upload to Flickr, Picasa, etc. Yes, in theory you could do the same with any camera and an Eye-Fi memory card, but your average Joe probably won’t bother with that. Plus most smartphones – and the iPhone in particular – have some great photo apps like the above mentioned Best Camera app.
So, yes, mobile phones are likely to put pressure and possibly even kill off lower-end cameras (if they haven’t already), but the number of pixels – even though it’s still used as a strong USP in marketing campaigns - will probably not be the most crucial of factors in the future.
Thoughts?
Stunning 7D advert
I know I wrote a few bitter words about Canon 7D when it was first released, mainly because of the annoying image problems.
But now they have been solved and Canon has released a stunning ad to promote the camera.
It’s beautifully shot… using Canon 7D itself. It features Feargus Kennedy, an award-winning wildlife photographer and forms part of a special campaign called Take stories, which also features other Canon cameras, including Canon 5D Mark II and EOS 450D.
Feast your eyes…















