Chris Poindexter, Author at Snapsort

Canon Announces Powerhouse EOS 1D X

The Canon 1D X is jammed with new features - by Canon

For Canon a big X marks the spot for the new king of the EOS line, the Canon EOS 1D X, which merges the 1D and 1Ds lines into one model. Offering a new combination of speed, resolution and image quality, Canon claims the 1D X is the most advanced EOS model it has ever produced and, from the specs, it’s hard to argue with that assessment.

The 1D X features a newly-developed 18.1-megapixel full frame sensor with 16-channel read-out and a sensitivity rating of ISO 100-51200, expandable to an eye-popping ISO 204,800. With ISO numbers like that you have to be approaching the ability to take pictures in the dark.

Backing up new sensor will be not one, but two Digic 5+ image processors. Canon claims speeds up to three times faster than the standard Digic 5 processor. The dual processors allow for full-resolution continuous shooting at up to 12 fps with 14-bit A/D conversion, which can be pushed to 14 fps in JPEG only mode.

It’s clear that Canon is aiming the 1D X at filmmakers, who have been generally opting for the Canon 5D MKII instead of the 1D or 1Ds. Canon claims the new Digic 5+ will reduce artifacts from moire and provide longer continuous shooting times by automatically creating a new file once it reaches the 4 GB file limit. Canon claims the continuous shooting time can be extended to nearly 30 minutes, up from 12 minutes in the 5D and 7D.

The 1D X also features twin CF cards which can be set to either write from one card to the next or duplicate photos on both cards.

In another nod to professionals using their Canon cameras primarily for video, the 1D X includes the ability to manually adjust the sound levels which are displayed on the LCD screen. You can almost hear millions of video shooters saying, “Finally!” at the same time.

Integrated into the camera is a gigabit ethernet port, but no word yet on whether video shooters will be able to get a raw data feed out of the data port. Right now that seems unlikely, but stay tuned.

The 1D X has added a second joystick on the back for controlling camera functions along with a 3.2 inch Clear View II LCD screen with 1040k dot resolution and anti-reflective coating. If you’ve ever noticed your pictures seem to look better in the LCD screen than on your computer, expect that to be even more noticeable with the 1D X.

back of Canon 1D X — On the back the 1D X sports another joystick controller - by Canon

As you would expect from any top of the line camera, the 1D X sports a high-grade magnesium alloy, advanced weather seals, and a new sensor cleaning system that uses wave-based vibrations to shake dust and dirt from the sensor.

Canon has some add-on features available that include the GP-E1 GPS receiver and the new WFT-E6 wifi transmitter.

In an unusual move Canon has announced the availability of the 1D X in March 2012, apparently trying to get some of their customers to postpone holiday purchases. U.S. pricing is expected to be in the range of $6,800 for the body only.

Video from Canon:

Top 5 Rated Camera Bags

A good camera bag keeps your gear organized, protects from the elements and is easy to haul around. A good bag will last for years, cheap ones fall apart. Although, there’s a feeling in some circles that the worse your camera bag looks, the less likely anyone will bother stealing it.

Camera bags make great presents, so here you go in plenty of time for the holidays are Amazon.com’s five highest rated camera bags:

The Canon 2400 SLR Gadget Bag

Compact but roomy enough for a camera body and three lenses, plus a flash and other accessories. Covered in water-repellent nylon with adjustable dividers inside and plenty of pockets outside.

AmazonBasics Backpack for SLR Cameras

I prefer the backpack style for ease of carrying and I like this one because it has an amazing amount of room, plus outside straps for carrying a small tripod.

The only disadvantage is it’s not advertised as waterproof or water-repellent.

Canon 200DG Digital Camera Bag

Can hold up to two SLR bodies, along with lenses and other accessories. Padded side pockets for extra data cards and a water-repellent nylon exterior with a weather-flap lid.

Lowepro Passport Sling Camera Bag

Sling style bags are very popular in urban settings. This one features a padded shoulder strap and non-skid patch. Plenty of room for a camera and spare lenses, you’ll see a lot of bags like these anywhere photographers are gathered.

Not rated or listed as weather proof.

Case Logic DCB-308SLR Camera Sling

More of a sling/backpack hybrid with the added feature of a side zipper that allows access to your camera while wearing the sling. Comes with a separate weather cover.

A little fat for my tastes in a sling bag, which you usually get for a flatter profile.

Understanding Color Depth

Understanding bit depth is the first step to understanding color space - by Cpesacreta

This is one of those subjects that makes people’s eyes glaze over, but it’s important for learning how digital cameras process images and what that means in post-processing. Most people know it has something to do with color and that more bits are better, but that’s about as far as it goes.

The basic terminology is fairly simple. A bit is a basic unit of data processing and is expressed as either a 1 or a 0. Eight bits, also called a byte, can be used to express 256 different states or 2^8.

Most digital pictures, inkjet printers and most color monitors express colors at an 8 bit color depth per channel. So that’s 256 shades each of red, green and blue. Each pixel is then represented by the color which is the sum of all three color channels.

As you can see, in a 16-megapixel chip there’s an aweful lot of processing going on, even for a simple 8 bit image. But modern cameras don’t shoot 8 bit anymore, most are shooting 16 bits per channel, 65,536 possible representations of each color channel, or 48 bit color depth. A 48 bit color image is capable of producing billions of colors.

Many cameras are pushing 22 bits per channel, or 16,777,216 shades of each channel. With a 20-megapixel chip, if nothing else you should gain new respect for what’s going on inside your camera just to record the image. Hopefully, these comparison specs, will mean more to you now.

When it comes to working with images in post-processing, generally working at higher bit rates will yield more subtle variations in tone. But don’t feel that you have to chase ever increasing color depth. The human eye can only discern about 10 million different colors, about 24 bits per pixel. So, for display, anything beyond that is not going to look that much better to viewers.

Five Tips For Longer Camera Battery Life

Nikon power pack because you can never have too much power - by Derek Ramsey

Most pros I know do more than carry a spare battery, they carry three or four spares, besides the full size battery pack most already have attached to their camera. Camera power is like money, there’s no such thing as too much.

Perhaps you’re not shooting at a pro level or don’t want to carry three or four spare batteries. There are several tricks for making the batteries you carry last longer.

Don’t Drop Them

This was more critical back in the NIMH days, but very few batteries are improved by repeated impacts with a hard surface. I try to take a knee to change batteries, if I can do so safely. That way if I drop it, it doesn’t have so far to fall.

That also means making sure you hear the locking click of the battery holder and battery door before going back to the shoot.

Keep them in a padded pocket in your vest or camera bag.

Minimize LCD Screen Use

That means cutting down on the image pre-view after the shot and resisting the temptation to scroll through your images every few minutes.

Live view, image viewing, the LCD screen is a big draw on the battery. I review my pictures before leaving a shoot and check the pre-view as I go, but that’s about it. I don’t scroll through each series as I shoot it.

Turn Off The Flash When You Don’t Need It

The problem with automatic shooting settings is the camera doesn’t know when it’s going to need the flash, so in auto modes the camera has to charge the flash capacitors just in case. That charging and flash prep happens every time you turn the camera on and off.

Don’t Push The Shutter Button Half-Way For No Reason

Pushing the shutter button for the heck of it kicks off a whole raft of power-sucking processes inside your camera. It has to run the autofocus motors, fires up the camera’s internal computer and display and, if the flash is on, top off the flash capacitors.

Easy On The Video

Video mode is a huge power vacuum, particularly in cameras like the Canon 5D MKII. The LCD is in live mode continuously and the camera is generating quite a lot of heat.

Cut down on the amount of time you’re in video mode and your batteries will last a lot longer.

Canon Launches SX40 HS Super Zoom

The Canon SX40 HS is an interesting blend of features that could be compelling for both the consumer and video professionals looking for a fixed position camera to set up for wide shots.

The showcase feature is a 35x super-zoom with a range that starts at 24mm on the wide end of the scale and runs out to an amazing 840mm on the zoom, all riding on a combination of Ultrasonic and Voice Coil Motors for fast, silent zooming.

Behind the amazing zoom technology is a 12.1 megapixel 1/2.3 BSI-CMOS sensor with a stated ISO range of 100 to 3,200. Backing that up is Canon’s new Digic 5 image processor which promises more advanced noise reduction.

The only minor niggle is the burst mode is limited to 8 full-resolution shots which it clicks off at a respectable 10.3 shots per second.

Canon bumped the video features to support full 1080p HD at 24 fps (see this story for a discussion on video frame rates). For those using their Canon DSLRs primarily for video, this is an interesting feature. It would allow them to consider putting an SX40 on a high boom or jib and using it for covering wide angle shots. Video shooters will also appreciate the fully articulated 2.7 inch LCD on the back and full manual controls.

The only concern for video shooters will be the chip size, which may look a little soft next to footage from a Canon 5D or Canon 7D. But if the video sample below is any indication, that won’t be a problem. I could use that footage for a cut-away without any serious issues.

Overall, at a sub-$450 price point, Canon should have a winner in the SX40.