Tag: Canon

Best Canon Lenses or Which Lens Should I Buy Next

When I began my work in travel, culture, and humanitarian photography I spent a great deal of time scouring websites, reading forums, checking reviews, making lists, and agonizing before I finally settled on which lenses were best for my needs and my work. So hopefully all my effort can help you save some time and assist you in your research in selecting which lenses are best for you. In addition to travel, humanitarian, and photojournalism work, much of this advice will apply to general photography as well. After you’ve learned all about lenses here, you can have a look at this other post to see what other camera gear and accessories you might want.


Open Windows, San Miguel Duenas, Guatemala

The easy answer to the question of which lens is best for travel photography, right up front, is: an all purpose zoom that goes all the way from wide to telephoto, like an 18-200mm, or a standard zoom like a 24-105mm. See the Standard Zoom section and the One Lens For Travel sections of this post for more information about these. The more difficult answer to that question is addressed in detail by this post. The most difficult answer to this question is: it depends. It depends on you. It depends on your level, interests, and goals as a photographer. It depends on what you most enjoy taking photos of and what type of images you aim to capture. Hopefully this post will help you figure that out, and I’ll address this most complicated answer more at the end of the post.

The primary sources for me in determining which lenses to choose were looking at the websites and blogs of other photographers who do similar work, since they often list and discuss the equipment they use. The initial and most helpful source for me was Karl Grobl, since his work as a humanitarian photojournalist is closest to what I do and what I aspire to do. But some of the other ones I can recall looking at include David duChemin – (who is a travel, art, and humanitarian photographer – he seems to have moved or deleted his “Gear” page), plus Nevada Wier and Bob Krist – both dedicated travel and cultural photographers. Oh, and the books and advice of the ever-enthusiastic Rick Sammon helped out along the way. I then applied what I learned from them to my specific photographic interests, preferences, and tendencies (which can be summed up with the fact that I typically like to zoom in close). In other words, if one of them favors a 50mm prime lens but you know you prefer the versatility of zooms, then adapt what they say to your needs.

For me and many others the ideal combination is a wide angle zoom, a standard (or middle range) zoom, and a telephoto zoom. (If you are interested in just one lens for travel, have a look at the Standard Zoom section, and then also jump down to the bottom of this article for the One Lens for Travel section.) I’m going to stick to the professional level lenses and compare the Canon L lenses first, and discuss other Canon lenses in the One Lens for Travel section below. I’ll try to keep it short and simple, and let you conduct further research on the countless sites dedicated to equipment and reviews.

Click on each lens below to link to its page on Amazon.com. If you plan to purchase any of this equipment from Amazon (or other equipment, accessories, or anything else), I encourage you go to Amazon.com by clicking on the links found throughout this post, and then Amazon will give me a little something for the referral, which will help support my blog. Thanks!

If you wish to first try out a lens before buying it, click on this link to go to BorrowedLenses.com, where you can get great prices on short-term rentals of any lens as well as the latest Canon and Nikon dSLR bodies (as well as video, audio, and lighting equipment).

If you are in the UK or wish to purchase from B&H, Adorama, or direct from Canon see the information at the end of this post for those links. The lenses I chose, which work best for my needs, are indicated by (Y). I apologize to the Nikonistas out there, since all of these lenses are the Canon variety. However, Nikon typically has an equivalent lens for each of these. Just search for the same focal length and have a look at the aperture and price to determine the comparable Nikon (Nikkor) lens. For example here are some equivalents:
Canon 16-35 f/2.8L to Nikkor 14-24mm f/2.8
Canon 24-70 f/2.8L to Nikkor 24-70 f/2.8
Canon 70-200 f/2.8L IS to Nikkor 70-200 f/2.8 VR

Check out this post to better Understand Canon Lens Notations – the significance of all the various numbers and letters in a lens name.

Wide Angle Zoom
As humanitarian photojournalist Karl Grobl says, this is the “bread and butter lens” of the photojournalist. This is used for up-close-and-personal shots, for environmental portraits or photos, and for “story-telling” images which include multiple subjects or a larger context.


Open Windows, San Miguel Duenas, Guatemala

EF 16-35mm f/2.8L II USM (Y)
pros: slightly wider on the wide end which is good for cropped sensors (7D, 60D, Rebels), larger maximum aperture (“faster”) for use in low light situations or for more dramatic depth of field
cons: high price, heavier in weight
notes: get the slim UV filter to avoid vignetting, especially if using a full frame camera like the 5D
filter: 82mm slim filter fits this lens.
notes: The above two images of this post were with this lens. This is the wide angle zoom I chose because I wanted the “faster” f/2.8 aperture to be able to use it effectively in low light situations.

EF 17-40mm f/4L USM
pros: more zoom on the far end, lighter in weight, much lower price
cons: f/4 maximum aperture not as “fast” and slightly less dramatic for shallow depth of field, not quite as wide on the wide end
filter: 77mm slim filter fits this lens.

Standard Zoom
This is a great “walk-around” all purpose lens, especially for travel or everyday photography. If you want to head out on the streets with just one lens, this is the one to take which will serve you well in most situations you encounter.


Panajachel, Guatemala

EF 24-70 f/2.8L USM (Y)
pros: larger maximum aperture (“faster”) for use in low light situations and more dramatic depth of field
cons: heavier in weight, higher price, less zoom range, no image stabilization
filter: 77mm multi-coated filter or 77mm coated filter fits this lens.
notes: a great all-purpose walk-around lens, though relatively big and heavy. I discuss using this lens, with several photo examples, in this post here.

There is a new EF 24-70 f/2.8L II USM lens plus the new EF 24-70 f/4L IS USM lens, both with the same focal length as above.  The first one just listed is an improved, lighter version of the 24-70 f/2.8L, and the second one listed adds Image Stabilization but has an f/4 maximum aperture rather than the f/2.8 maximum aperture of the other 24-70mm lenses. Adding these two new lenses into the mix makes this an even more challenging decision in the Standard Zoom category!

EF 24-105 f/4L IS USM
pros: lighter in weight, image stabilization which will help you gain 2 or 3 stops in speed vs. hand-held non IS (*see below), more zoom range, lower price
cons: f/4 maximum aperture not as “fast” and slightly less dramatic for shallow depth of field
filter: 77mm multi-coated filter or 77mm coated filter fits this lens.

* this means for example, if the proper exposure of a scene is 1/60 at f/5.6, and you want to hold on to that f/5.6 aperture for compositional reasons and not have to sacrifice your chosen depth of field for a faster shutter speed, you could capture it without blur, whereas without the image stabilization (IS) the hand held image may have been blurry.

Telephoto Zoom
This is a great lens for portraits, close ups, details, ability to zoom in and capture something far away, sports and action shots, and ability to create dramatic depth of field or blurry backgrounds. There are four versions of the Canon 70-200mm lens – either f/2.8 or f/4, each with or without image stabilization (IS). Oh wait, there are now five versions, with the recent Mark II version of the f/2.8 IS. I think with a lens this long and heavy, you need image stabilization if you are going to be hand holding it, so I will ignore the non-IS versions.


Solola Market, Guatemala

EF 70-200, f/2.8L IS USM
pros: larger maximum aperture (“faster”) for use in low light situations and more dramatic depth of field. The Mark II version of this has a closer minimum focus distance and improved optics
cons: very heavy, very large, higher price, especially the new Mark II version
filter: 77mm multi-coated filter or 77mm coated filter fits this lens.

EF 70-200, f/4L IS USM (Y)
pros: lighter weight, smaller, lower price
cons: f/4 maximum aperture not as “fast” and less dramatic for shallow depth of field
filter: 67mm multi-coated filter or 67mm coated filter fits this lens.
notes: This is the telephoto zoom I chose. I sacrificed the one-stop of aperture for the much more manageable size and weight of the f/4. And since I primarily use it outdoors, and because it has image stabilization, the f/4 aperture only really affects the extent of background blurring. There are several example photos of this lens in action in this post here and also more nice example photos in this post here.

I haven’t used each of these lenses in the field, though I have briefly tested most of them, so my decisions and my pros and cons are sometimes based on my research and from what I’ve learned from others who use them. Consider them starting points for issues you want to consider in your selections. And while there are endless discussions and comparisons regarding image quality, sharpness, sweet spots, etc. for each pair above, I will stay out of that discussion and tell you there are highly regarded professionals who use each of these, that any Canon L series lens is professional quality, that price and/ or largest maximum aperture will often indicate the one that is generally considered “better,” and that you will never regret your choice based on these concerns. Note that many L-series lenses are sealed against and dust, water and weather. Sometimes a front filter is required to complete the weather sealing, such as with the wide angle lenses. I suggest always using a clear, protective UV filter with any lens, preferably a high quality, multi-coated B+W brand filter. If you don’t want to spend that much, at least get a high quality single-coated B+W filter rather than a cheaper Tiffen filter.

When making your choices, I highly recommend going to a store with your camera and actively testing and comparing each pair. The difference in size and weight, and even feel of the lens in your hands, is often dramatic and may help you make your decision. If you are still undecided, rent one for the weekend and work with it. And don’t think that you have to immediately get three lenses in order to do your work. Karl Grobl uses just two of them in his work, and that hasn’t limited him in either humanitarian or travel work. Consider your primary needs, and buy one or two based on that, and combine them with less expensive non-L lenses for now.

If your budget or needs don’t call for L-series lenses, see the One Lens for Travel section below, or look for the closest equivalents of the above lenses in other Canon or Sigma or Tamron, etc. lenses (or in the Nikon lenses if you are over in that camp).

Prime Lenses
Many photographers rave about prime lenses (lenses of a single focal length, that don’t zoom) for many reasons, including image quality, the purity and simplicity of working with them, and their large maximum apertures (as wide as f/1.2) for very dramatic compositions through use of shallow depth of field. The focal lengths I see used most often are (these are obviously Canon examples):

Canon 35mm f/2
Canon 50mm f/1.8 II (high image quality for about $100!)
Canon 50mm f/1.4 (Y) (a little more costly, but higher quality 50mm)
Canon 85mm f/1.8

Take into consideration if you have a full frame or a cropped sensor, since with a cropped sensor 7D , 60D, or 550D the field of view of the 50mm lens will be closer to an 80mm lens on a full frame 5D camera (or a 35mm film camera), so the field of view of a 35mm will be closer to a 50mm on a full frame or 35mm film camera.


San Miguel Dueñas, Guatemala

One Lens for Travel
I know a lot of people are interested in finding just one lens that is good for travel photography. As I mentioned above the best option is typically the standard, mid-range zoom. Look above for info on the Canon L-series lenses. My choice would be the EF 24-105 f/4L IS USM. For something less expensive Canon offers a couple other great options. For each of these lenses, I would highly recommend getting the optional lens hood (the hood comes with L-series lenses). It helps shade the lens to prevent unwanted lens flare (although lens flare can sometimes be used for a great effect when desired), helps protect the lens from bumps and drops, and makes you look cooler and more professional! And of course always get a good quality, coated B+W brand UV filter for protection – or at least a cheaper Tiffen filter. However, there is a significant difference in the clarity and lack of reflectiveness of a coated B+W filter vs. a standard Tiffen filter, which you can see if you look through them side by side, so those who are concerned about image quality should go with a coated, or better yet multi-coated B+W filter (designated MRC). Also, note that non-L-series lenses are not nearly as well sealed against dust, water and weather as most all of the L-series lenses are.

EF-S 18-135mm f/3.5-5.6 IS
pros: less expensive, lighter weight, image stabilization
cons: less zoom range on the telephoto end than the 18-200mm, not a constant minimum aperture like the L-series lenses (the f/3.5-5.6 means your largest aperture at the 18mm wide end will be f/3.5, while the largest aperture at the 135mm telephoto end will be a less dramatic f/5.6), not higher quality USM focusing motor, EF-S means this lens can only be used on cameras with the APS-C sensor, or non-full-frame sensors, so it can be used on all Digital Rebels, 20D-50D, and 7D, but cannot be used on a Canon 5D. However, that means it is optimized for those cameras, especially for the wide end.
Lens hood EW-73B fits this lens, and a 67mm coated filter or 67mm filter.
This is currently one option for the kit lens for the Canon EOS 60D, and is a good choice if you are debating between the kit lens or not.

EF-S 18-200mm f/3.5-5.6 IS
pros: more zoom range on the telephoto end, image stabilization, better image quality than the 18-135mm lens.
cons: more expensive, heavier weight, not a constant minimum aperture like the L-series lenses (see above lens), not higher quality USM focusing motor, EF-S for APS-C sensor cameras only (see above lens).
Lens hood EW-78D fits this lens and a 72mm coated filter or 72mm filter.
This is currently another option for the kit lens for the Canon EOS 60D, and is an excellent choice if you are debating between the kit lens or not.

EF 28-135mm f/3.5-5.6 IS USM
This is an older lens that seems to have been replaced for the most part by the two lenses above.
pros: less expensive, image stabilization, USM means a faster, quieter auto-focusing motor and full time manual focus (which means you can override the auto-focus by turning the focus ring without having to switch the lens to MF manual focus), EF so can be used with both APS-C and full frame cameras too if you have or wish to upgrade to a 5D.
cons: not a constant minimum aperture like the L-series lenses (see above), less range on both the wide and telephoto ends.
Lens hood EW-78BII fits this lens and a 72mm coated filter or 72mm filter.

It Depends
The actual answer to the question of which lens is best for travel photography is: it depends. As I said above, it depends on you – on your level, interests, and goals as a photographer. It depends on what you most enjoy taking photos of and what type of images you aim to capture. If you are a photography novice, or just want to be able to capture all or most situations, the all purpose zoom or standard zoom might serve you best. But if you wish to capture more of a certain type of photo that you like, photos that match your specific visual ideas and preferences, you need to reconsider. Do you like sweeping vistas and all encompassing environmental portraits? Do you typically want to capture the entire scene in your shots? Then perhaps a wide angle zoom will work better for you than a standard zoom. Certainly, you will be limited and not able to frame certain shots the way you might want, but you will capture more of the types of images you like, and might simply have to move in closer than usual to get some the other images. Do you like extreme close-ups of people’s faces with dramatically blurry backgrounds, architectural details on buildings, the look of compressed perspective? Then a telephoto zoom rather than a standard zoom will help you capture more of those images you like. Sure, you will not be able to get the wide angle view of spaces, but you might succeed in capturing many more of the dramatic photos you like. Or perhaps you best work like a classic photojournalist and want to capture scenes and portraits more closely to how you see them. Then a single prime lens like a 50mm or 85mm might be the one lens that is perfect for you.

The Best Lens for the Canon 60D
A lot of people ask, “Which is the best lens for the Canon 60D, (or the 7D, or the 550D/T2i or the 5D)?” There isn’t a specific lens that is best for a specific camera. I hope you’ve already learned that from reading this post! A lens will perform exactly the same on each of those cameras or any other camera with an APS-C size sensor. The effective focal lengths will be different with a full frame sensor dSLR, such as the Canon 5D, but they will still be wide angle zooms, medium zooms, etc. The best lens for your camera is the one that is best for you, your work, and the types of photos you take. That being said, the kit lens that Canon has paired up with the 60D, the EF-S 18-200mm f/3.5-5.6 IS is an excellent choice for an all-purpose everyday and travel lens. See the EOS 60D with the kit lens on Amazon here.

For related posts, check out other entries in the Lenses Category, the Humanitarian Photography category, and my posts about Fixed vs. Variable Aperture Lenses and Choosing a Lens beyond the Kit Lens, as well as my discussion and recommendations for gear for travel photography.

Purchasing: As I mentioned above, if you plan to purchase any of this equipment, I encourage you to do so by clicking on the links of each of the lenses listed above, which will take you to that page on Amazon.com. Or go directly to Amazon using this link or click on the Amazon logo below. If you purchase through these links, Amazon will give me a little something for the referral, which will help support my blog. Thanks, I appreciate your support!
Amazon.com

If you are in the UK, you can click here for the UK Amazon referral link. If you are in another country, click on one of my Amazon links, scroll to the bottom of the page, and click on your country for your local Amazon.

For those interested in purchasing from B&H Photo, Adorama, or direct from Canon, please click on their logos on the Gear page. Thanks!

Renting Lenses: If you wish to first try out a lens before buying it, click on this link to go to BorrowedLenses.com, where you can get great prices on short-term rentals of any lens as well as the latest Canon and Nikon dSLR bodies (as well as video, audio, and lighting equipment).

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Canon Rebates for Aspiring Photojournalists

Canon has some new rebates that are perfectly made for any aspiring photojournalist needing to buy equipment.  Several lenses have rebates, including the 16-35 f/2.8L II – the current version of the “bread and butter” lens for any photojournalist, the popular 24-70mm f/2.8L midrange zoom, as well as 85mmL, 50mmL and 100mm primes.  Speedlites included too.  If you buy a 5D body at the same time, the rebates double!  There are other rebates with the 7D, either alone or in combination with various lenses.

Exploring Metering Modes

It is one thing to know that your cool new Canon or Nikon digital SLR provides you with 3 or 4 different metering modes. It’s another thing to know how and when to actually use them in the field or in different real life situations. The Canon 5D, 7D, 60D, 50D and T3i all offer four different metering modes – Evaluative, Center-Weighted, Partial, and Spot – as I’m sure you have thoroughly read about in your manual, right? Nikons, like the D7000, D51000, and D3100 generally have three different modes: Matrix, Center-Weighted, and Spot. I’ll try to cut to the chase and simplify the explanations and their uses.  Note that there are some important differences between how they work for Canon and Nikon cameras, particularly the Spot mode.

Canon T3i T2i 60D metering mode partial spot viewfinder
The viewfinder of the Canon T3i (T2i and 60D similar) showing the areas evaluated for Partial Metering (superimposed grey area) and Spot Metering (black circle in center).

Evaluative (Canon) or Matrix (Nikon): This is the default mode for your camera, and it can be used for almost every situation you shoot. Yes, maybe 90% of the time, maybe more. The camera evaluates the entire scene, as divided into several zones, and chooses the best exposure based on its knowledge of thousands of potential image situations. The current metering systems are so good, they can even be relied on for backlit or other challenging lighting situations. An important feature of this mode is that advanced cameras such as the Canon 7D, Canon 60D or Nikon D7000, D5100 take into account the selected focus point in its determination of exposure settings. It is assuming your focus point is on your most important subject, so under challenging and critical situations, it is wise to confirm that the camera has chosen the focus point you want (well, this is always wise). Even better, you should typically manually choose the focus point or cluster of focus points, as the camera has no idea what your intended image is. So in special situations, such as dramatically back-lit scenes or a situation with bright light plus deep shadows, make sure you are not using the center point to focus and meter, and then recomposing to take the shot – because some of the zones that the camera evaluated are now no longer in your shot after recomposing, and other new areas are, so the camera has set exposure for an image other than the one you are taking.


San Miguel Duenas, Guatemala

Partial (Canon only): This mode meters a smaller area, about 9.4%, in the center of the scene on the 7D and 6.5% with the 60D. Nikons do not have this mode, though some Nikons such as the D7000 offer the ability to change the size of the Center-Weighted Metering circle (see Center-Weighted Metering below), so it makes up for this.  The area is approximately a circle that reaches to the top and bottom focus points, and the metering system ignores the rest of the frame. This mode is useful where there is a dramatic difference in lighting between the foreground or subject and the background. For example, when your subject is backlit – maybe standing in front of a bright window or the sun – and consequently their face is in shadow. I know I said evaluative mode can often handle this type of situation, but if you want the face or subject to be properly exposed and not risk blowing the shot, it is worth it to quickly switch to Partial metering mode. Again, another time to use this is when there is a wide range of light in your scene, from bright sunlight to deep shadows. Remember, this mode is not linked to your focus point. The partial area that is metered is always in the center, so meter on the part of the scene that is most critical and that you want properly exposed, using the central area of the viewfinder, lock in that exposure, then recompose and take the shot.


Campo Nuevo, Guatemala

Important Note about Locking In the Metered Exposure: The metered exposure setting is sometimes locked in by pressing the shutter button half-way down or sometimes not “locked” until the image is taken (depending on your camera, or current shooting mode, or how you set it up – read your manual!).  The shutter button also typically locks focus (unless you have changed that setting).  If you wish to lock in focus and exposure separately, which you often will need to do, on a Canon use the AF-Lock (for focus) button and/ or the AE-Lock (for exposure) button – which looks like this: * – to lock in one of them before locking in the other with the half-press or full press of the shutter button. On the Nikons, you have to set one of your buttons to be the exposure lock button, either the AE-L/AF-L Button or the Fn Button on some cameras like the D7000. I suggest first metering on the subject and locking in that exposure by pressing the appropriate button, then recomposing and locking in focus right before or as you take the photo. Or else learning the advanced methods of back button focusing. Get in the habit of knowing how to do this instinctively, and if you need to hold or just press the particular button, so that it comes naturally during critical situations. On the 7D and D7000 and other cameras you can also customize how these buttons perform or set other buttons to do these tasks. You can see in the viewfinder that you have locked focus when the focus dot is lit. You can see that exposure is locked with the AE-L indication in the Nikon viewfinder or the * symbol in the Canon viewfinder.

Locking exposure and focus, independently, each in the brief seconds before you take a shot? Confusing? A little, but not impossible to figure out with some experimentation and practice. Remember, this is why you bought the fancy dSLR, so that you could make use of all these advanced features and take your photos to another level!

Center-Weighted Average: This metering mode is sort of a cross between Evaluative and Partial metering. It acknowledges that the subject is in the center and requires special metering attention, but it also takes into account all the other zones. Again, this is not linked to the focus point, but always to the center, so if your subject is off center – which it typically should be for a more dynamic image – you need to lock in exposure on your subject and then recompose. I have found that with the Canon 50D, this mode is actually more consistent than Evaluative metering, which often over exposes by 1/3 or 1/2 a stop.  Note that you can use the Custom Settings of the D7000 to change the size of the center area being weighted.

This mode can be used when you want to ensure that the subject is properly exposed, but you also want the camera to consider the background. However, if the background is much darker or lighter than the subject, and you want the camera to expose only for the subject and ignore the background, use Spot Metering…


San Miguel Duenas, Guatemala

Spot: This mode meters a small center area, 2.3% of the frame with the 7D, 2.8% with the 60D, and 2.5% with the D5100 and D7000. This area is indicated by the small circle in the center of the viewfinder of the 7D and 60D. There is no center circle in the Nikon viewfinder and you will soon find out why.  So when do you want to use Spot metering? This, again, is useful for scenes with great variation in light and shadow, or in very critical situations. One of the most common ways to use it is when metering for proper exposure on a dramatically lit face or subject, but the exposure of the rest of the scene is unimportant. Or perhaps your subject is set against a plain but consistent background, like a bird against a large blue sky. It is also used to determine proper exposure of a subject before switching the camera to manual for a controlled studio shot, or a critical shot or series of shots where the lighting is not going to change. If your background is completely dark or extremely bright, and you don’t want the exposure system to consider it at all when determining the exposure of you subject, use Spot rather than Center-Weighted or Partial. With Canon cameras, the Spot that is used to evaluate the exposure is in the center of the frame, and is often indicated by a small circle. However, with Nikon cameras like the D5100 and D7000, the Spot surrounds the active focus point and is not necessarily in the center of the frame unless you are using the center AF point. So it is wise to become familiar with how your camera operates.

A fifth metering mode is Manual metering, which isn’t actually a mode in your camera, but is a method of metering. This is where you use a light meter or use your camera as a light meter (such as described at the end in the Spot section above) and then manually set your exposure based on the meter readings. This is used when you want ultimate control of the metering and exposure.

You can learn much more about the Exposure modes of specific cameras, including the 60D, T3i, D7000 and D5100, in my e-book users guide. See my e-book website, Full Stop to learn more about them or click the banner below! The guides also go into much more detail about setting up the related metering mode Custom Functions/Custom Settings and camera controls.

full stop dslr photo photography camera manual guide for dummies canon nikon

I recently ran across an interesting article which takes this discussion to another level by addressing the use of different metering modes in the very specific situation of a wedding. Since one of the main subjects in typically all in white, and the other in black, the metering mode you select and where you meter can make a dramatic difference in the exposure. While that article is specific to weddings, it is useful and helpful to read to further understand how the different modes work, and how special situations might call for some extra thought.

Doug’s Useful Site of the Week

There are a number of blogs and sites I check out most every day in order to stay current with the latest photo equipment, news, and discussions.  One of my favorites is Canon Rumors, which – as the name would imply – is all about the latest rumors regarding new Canon cameras, lenses, and firmware updates.  It is particularly useful if you are thinking of purchasing a new body or lens because you can find out if the particular model you are interested in is rumored to be updated soon, thus possibly affecting your purchasing decision.  If you follow it regularly for just a couple weeks, you can get good feel for all the expected new releases.  For example right now, the Canon 550D/ Rebel T2i came out just about when it was predicted, and the Canon 60D is rumored to be coming out any day now.

It also has a great Price Watch section where you can compare the current prices of numerous cameras and lenses at a variety of retailers such as B+H, Adorama, and Amazon.


San Miguel Duenas, Guatemala

New Canon 550D / Rebel T2i Announced

Canon has just announced a new model in their Rebel lineup of digital SLRs, the T2i or 550D.  I encourage anyone who is just entering into digital SLR photography to have a look at my previous post Why You Shouldn’t Buy the Kit Lens before you simply buy the T2i kit without considering another lens that may be a better choice for you and your photography.  Also, have a look at my post comparing several of the Canon dSLR cameras, including information about the 550D / T2i.


Antigua, Guatemala                             photo by dojoklo

Depth of Field Simplified

I’ve noticed that a lot of searches regarding depth of field (and how to use your aperture to create a blurred or blurry background in your photos, or what is called bokeh) have led to my blog.  I’ve also received some good follow up questions from my previous post about depth of field.  Unfortunately, my post on Mastering Depth of Field may be a bit advanced for those who are still learning about how to use their digital SLR, as it is intended for more experienced photographers.

As I explained in that post:

“depth of field is…the range of distances in which the objects in the photograph will be acceptably sharp. For example, if I am using a 100mm lens, set my aperture at f/5.6, and focus on a subject 10 feet away, everything from 9.69′ to 10.3′ away from me will be acceptably sharp or in focus in the resulting image.”


Open Windows, San Miguel Duenas, Guatemala

Depth of field, then, can mean that everything is in focus from a few feet away to infinity (deep depth of field), or it can mean that a person’s eyes and nose are in focus, but their ears and hair and everything behind (and in front) of them is blurry (shallow depth of field).  One of the best ways to make use of depth of field is to create dramatic, shallow depth of field – the subject is in focus, but the background is blurry.  This technique helps to call attention to your intended subject and minimize distracting background elements, and to make your photos look much, much more like those of the pros.

All of the numbers and fractions and settings and seemingly reverse logic are intimidating at first, and most books add to the complication and confusion.  But it is really quite simple.  Depth of field is controlled by the aperture.  A small aperture size (which is an aperture number like f/16 or f/22) will create deep depth of field, with everything in focus.  A large aperture size (which is an aperture number like f/2.8 or f/4) will create a shallow, dramatic depth of field.  (Since “f/number” is a fraction, f/16 is a smaller number and size than f/4, so I’m avoiding using small number vs. large number terminology, as I said I would try to keep this from becoming too confusing…)   So here is the quick and simple way to create dramatic depth of field:


Open Windows, San Miguel Duenas, Guatemala

Set your camera on Aperture Priority Mode.  On a Canon, rotate the mode dial to Av, on Nikon set the dial to A.

Set your camera to Auto ISO.  Or else if you wish to control the ISO, if you are indoors or in dim light without a flash, set it to 800 or 1600 ISO.  If you are outside in bright sun, set it to 100 or 200 ISO.  If it is a bit cloudy or you are in the shade set it to 200 or 400 ISO.

Look in you manual for how to change the aperture setting of the lens.  For a Canon dSLR in Av mode, that means rotate the little finger dial up there by the shutter button.  On a Nikon it means rotate one of the dials at the top right front or back of the camera, depending on your camera and settings.)  Turn the dial until you see f/2.8 or f/4 or f/5.6 on your screen or in the viewfinder. Since you are in Aperture Priority Mode, the camera automatically selects an appropriate shutter speed.  If you’ve selected the ISO yourself, or even if you are using Auto ISO, you may want to verify that an appropriate shutter speed is being selected.  For example, I found that with the Canon 7D, Auto ISO often selects a much slower shutter speed than what is best for a situation.  Press the shutter button half way down and check the shutter speed.  If it is anywhere from 1/100 to 1/250 or higher, you are fine if your subject isn’t moving.  If the subject is moving, make sure the shutter speed is 1/250 to 1/1000.  If it is any higher or lower than the range you want, you should adjust the ISO until the shutter speed it falls into that range (raise the ISO, keep the aperture the same, and this should result in the camera selecting a faster shutter speed setting).

Focus on your subject using the focus mode of your choice, and take the photo.  Preferably, use single point focus mode and select the focus point you want, so that you have complete control over where the camera focuses.  If the subject is a person or animal, focus on the eyes or eyebrows.  If it is something else, focus on what you want to be sharpest in the photo.

A good book to read to continue learning about this is Understanding Exposure by Bryan Peterson (Third Edition).  Click on the link to see it on Amazon.  It is geared towards photographers just learning about apertures, shutter speeds, and ISO, and helps to explain the concepts better than most other guides.

Let me know how the photos come out! Note in the first photo above that dramatic depth of field can be used to make the foreground blurry as well, not just the background.

Continue reading Mastering Depth of Field.

Why You Shouldn’t Buy the Kit Lens

OK, I admit, the title of this post is purposely overly dramatic. The truth is, I don’t know if you should buy a digital SLR with the kit lens or not. That was partially a cheap ploy for attention and Google searches. But the reality is, Canon and Nikon don’t know what you are taking photos of and how you work, so just because they pair a lens up with the body you want, don’t assume it is the right lens for you and your work. You may save some money at first, but if you soon upgrade and replace the kit lens, and then toss it aside and rarely use it again, you’re really not saving any money. (It should tell you something that when you read forum posts from people discussing kit lenses, you discover the most common phrase is “I bought the kit lens, but…” typically followed by the words “soon replaced.”) You don’t need a “starter lens,” whatever that means. You need a lens that does what you want.

For additional posts about lenses, see Best Lenses for Travel and Humanitarian Photography and Fixed vs. Variable Aperture Lenses.

So I’d like to raise some issues that can help you make a better, more informed decision if you should get the kit lens or if you should buy just the camera body, and purchase a different lens. (A “kit lens” is a lens that is sold together with a dSLR camera body, as a package – as opposed to buying the camera body only and selecting your own lens.)


San Francisco, Peru – Shipibo Village
1/640, f/5, ISO 200, 105mm

If some of the digital photography terms in this post are new to you, check out this great glossary for assistance.

There are several routes to follow regarding buying lenses. One common path seems to be to start out with a single, all purpose zoom lens, like the EF-S 18-135mm f/3.5-5.6 IS, that takes you all the way from wide angle to telephoto. Then when your experience and needs change and develop, you might get higher quality zooms with more limited range, such as a wide angle zoom, a standard zoom, and/ or a telephoto zoom. Somewhere along the way you may throw in a couple prime lenses, and then maybe upgrade the zoom lenses to the professional series, or get a super expensive, giant telephoto if your work requires that. There are a million sites that address everything about lenses, so I don’t wish to repeat it all here. But one thing is for sure: they can’t tell you which lens you need. You have to figure that out yourself, and hopefully this post will help you do that.

One thing to keep in mind with lenses is that you almost always get what you pay for. With more expensive lenses you often get features including:

  • better sharpness throughout its full range of focal lengths and apertures
  • better sharpness, color, contrast, and image quality across the image frame, from the center to the corners
  • higher quality construction
  • higher quality glass and coatings to prevent flare and internal reflections
  • larger maximum apertures
  • fixed maximum apertures (read about what this means in this other post)
  • better durability
  • Increased dust, water, and weather resistance
  • image stabilization (designated IS on Canon lenses; VR on Nikon/Nikkor lenses)
  • higher quality auto focus mechanisms
  • quieter and faster auto focus
  • full time manual focus (ability to override auto-focus for manually tweeking focus while remaining in AF)
  • internal zoom mechanisms – meaning the lens does not extend when you zoom – which also allows for better weather sealing
  • metal lens mounts (the part that screws onto the camera) for better durability, sealing, and electrical connections (cheaper kit lenses often have plastic mounts that wear and then the lens wobbles and loses electrical connection)

One notable exception to this rule of price=quality seems to be Canon’s 50mm f/1.8 II for under $100. From what I’ve repeatedly read, the quality is exceptional, although the build quality seems to be what suffers. Also, since higher quality lenses typically contain more internal lens elements, they are often heavier than equivalent cheaper lenses.

If you are new to learning about lenses, you may wonder why you shouldn’t just buy a relatively inexpensive lens that takes you from 18mm or 55mm all the way to 200mm or 300mm and covers all your needs. The general answer is that lenses typically can’t maintain high quality throughout a huge range like that. If you have a high quality camera, you are better off sacrificing some of that zoom range for better quality through a more limited range. And any dSLR with 15, 18, or 21 megapixels will show the shortcomings of cheaper lenses due to the high resolution of the sensor.


Ucayali River, Peru
1/400, f/6.3, ISO 100, 105mm

So, to choose the lens that is right for you, first look at what you plan to or typically take photos off. What range of zoom or individual prime lenses best fit these needs? If you have lots of recent photos, look at the EXIF data to see what focal lengths got the most use. (Make sure you take into account sensor sizes and crop factors though. A photo taken at 55mm focal length on your digital compact may be the equivalent of 55mm on a camera with a full frame sensor, like the Canon 5D, but will likely not be the equivalent of 55mm focal length on a 1.6x crop factor size sensor of a Canon Rebel, 60D, or 7D. You may have to do some research and some math and figure out what the equivalent focal length is to make sure you are comparing apples to apples.)

When I was initially upgrading from an all purpose zoom to higher quality but more limited range zooms, I put all my favorite and most successful recent photos in a folder and then opened that folder in Adobe Bridge. In the “Filter” panel, I expanded the “Focal Length” list, and saw the number of photos taken at each focal length. It quickly became apparent that I was always working at the extremes of my lens, either at 28mm or at 105mm, and then the next highest concentration of images was around 50mm and 85mm. What this metadata told me was that I needed a wide angle lens for those times I was working at 28mm, and also a telephoto lens that started around 80mm and went up to 105mm or greater. Knowing from experience that I often wished I could get much wider than 28mm, and seeing in the EXIF data that when going wide I rarely went above 30mm or 35mm, I chose a 16-35mm wide angle zoom lens. Also knowing from experience that I often wished I could zoom in much closer than I was able to with 105mm, a 70-200mm lens was a great solution. With these two lenses, I have the wide and telephoto ranges covered. But the EXIF data also showed a concentration of images from 50-65mm, so this tells me perhaps I should consider a 50mm prime lens. I can make up the difference of 50-65mm by “zooming with my feet,” as they say.


Cusco, Peru – Inti Raymi 2007
1/500, f/4.6, ISO 100, 21mm (digital compact)

If you don’t yet have enough experience or past images to know which range of lenses will best fit your subject matter, look at photographers who do similar work. Professionals usually list what gear they use on their website – look for the “equipment” or “gear” link. If you are into travel, look at what Bob Krist and Nevada Wier use. If you are into landscapes or birds or sports, look at your favorite pros in these areas (sorry, I don’t know too much about these areas). If you favor international humanitarian photojournalism (as I do), look to Karl Grobl and Ami Vitale, or any number of other working pros. If you can’t afford or are not ready to invest in the professional series lenses that they use, determine the closest equivalent in a less expensive lens. Or another approach is to look at the types of images that draw your attention, the types of images you wish to emulate. See if the focal length is listed under the image (this is often done in photo magazines and books), or with images on Flickr view the EXIF data. If it is not listed, just determine the focal length more generally. Are the images you admire and are attracted to close-ups, details, or faces with blurry backgrounds? These are typically made with telephoto lenses – lenses that range from 70mm to 200mm, 250mm, or 300mm. Or are they all encompassing wide shots, landscapes, or environmental portraits? These are usually taken with wide angle lenses or lenses that range anywhere from 10mm or 18mm up to 70mm or 85mm.

There may be 2 or 3 lenses that fit in your desired range, so the next step is to head to the photo store. Have them pull out the camera body you have or want, and then 2 of the similar lenses. Try them both out, and you may quickly see which one you favor. One may be much heavier than the other, or just feel more comfortable in your hands. There may be a significant difference in size. When I went to look at the 70-200mm, there were 4 to choose from: it came with or without image stabilization and with f/2.8 or f/4 aperture. I knew I wanted the IS, and even though it was significantly more expensive, I knew I wanted the f/2.8 since it is generally considered better for a variety of reasons. However, the moment the guy placed them side by side on the counter, I was relieved I had not ordered it sight unseen. The f/2.8 is gigantic. It is a cannon, (not just a Canon) and it weighs a ton. I knew I would not want to haul that thing around, have it around my neck or in my hands all day, and that I would probably begin to dread its weight very quickly. So I went with the f/4 (Canon EF 70-200 f/4L IS), with its very similar optics and performance, and half the weight. I sacrificed a little “speed” and compositional possibilities (as well as bragging rights) with the f/4 aperture, but based on how I knew I would be using it, it was worth the trade off. However when comparing two similar wide angle zooms, side by side and in my hands, I chose the heavier one. Its shorter focal length at the wide end and its wider aperture, which would be beneficial in the low light situations I would be commonly using it, were more important to me that the weight.

Whichever lens you get, be sure to get the optional lens hood (they come with L-series lenses) and a high-quality coated or multi-coated UV filter (such a the B+W brand). The lens hood will help shade the lens to prevent unwanted lens flare (although lens flare can sometimes be used for a great effect when desired), help protect the lens from bumps and drops, and will make you look cooler and more professional! Have a look on my post about The Best Lenses for Travel Photography which specifies the applicable Canon lens hood and filter size for several lenses.


Lake Titicaca, Peru
1/1000, f/6.3, ISO 400, 105mm

If you still can’t decide, rent the camera and both lenses, or just the lens you are leaning towards, and try them out for a weekend. As far as all the other comparisons between lenses, do research on-line. Avoid forums that debate the pros and cons of various lenses but are subject to subjective judgments. Look for sites with actual side-by-side reviews and comparisons. I’ve listed a few links at the bottom.

Don’t rule out a prime lens as your first lens either. The 50mm used to be the “kit lens” back in the 35mm films days, and for a good reason. It is called a “normal” lens, meaning “the way it renders perspective closely matches that of the human eye.” (Gary Voth). Also, its large maximum aperture – often f/1.4 or f/1.8 – means it works great in low light situations, as well as creates dramatic background blurring. Gary Voth has written an excellent post about the 50mm, “The Forgotten Lens,” describing its numerous other benefits. He also addresses the issues of a 50mm with a full frame vs. cropped frame digital SLRs. The couple of photos on his post may be enough to convince you he is on to something.

On a final note, I’ve read of people being concerned about buying lenses that overlap, for example having a 24-105mm and a 70-200mm. These 2 would overlap, and thus potentially serve the same purpose, in the 70-105mm range. I don’t think this should be a concern at all, for a couple reasons. First, the lenses may not act exactly the same optically at the same focal length due to the lenses’ minimum apertures or their focusing “sweet spots.” More importantly, there are so many situations where you can’t or don’t want to change, or even carry around a variety of lenses, so consider each lens’ range independently of your other lenses. If you were walking about in a city taking photos, a 24-105mm would be great range, and more convenient than having to change lenses every time you wanted to zoom past 70mm. Of course if you have 2 bodies, you may have to reconsider this philosophy.

I go into further detail about the best lenses for travel and humanitarian photography in this post where I discuss specific lenses in the different zoom ranges of wide, standard, and telephoto, as well as choosing the best one lens for travel. That post will also benefit those looking for a general, all-around lens.

If you plan to purchase any equipment, I encourage you to do so through the referral links I’ve set up with Amazon. Use the product links throughout various posts, or just use this one and go directly to Amazon using this link to the Canon Lenses or this link to the Nikon lenses. Purchasing through my site or through that link will help support my blog – thanks! And for those of you across the pond, click here for my referral link to Amazon UK. If you are in another country, click on one of my Amazon links, scroll to the bottom of the page, and click on your country for your local Amazon.

For those interested in purchasing through B&H Photo, Adorama, or directly from Canon, I have set up affiliate links with them as well – find them on the left side of this page.

Renting Lenses: If you wish to first try out a lens before buying it, click on this link to go to BorrowedLenses.com, where you can get great prices on short-term rentals of any lens as well as the latest Canon and Nikon dSLR bodies (as well as video, audio, and lighting equipment).

Great sites for lens reviews:

http://www.the-digital-picture.com/
http://www.dpreview.com/

Please leave a comment, ask a question. Let me know what has been helpful, and what you’d like to read more about.

Mastering Depth of Field

(for a related post, see Depth of Field Simplified)

I recently came across an excellent website regarding depth of field (dof), including a handy online calculator for determining dof based on the focal length of the lens, the aperture, and distance from the subject. It even takes into account different sensor sizes, including the APS-C size sensor of the Canon 7D. You can also view and print dof tables as well as create, print, and assemble a field dof calculator based on focal lengths of your choosing. And if you have an iPhone, there is an app for that!  Have a look at the DOFMaster depth of field app.


Chichicastenango Market, Guatemala – 200mm, f/4, subject distance 2.7m
One figurine in focus, surrounding figurines dramatically out of focus – achieved by standing close, zooming way in and choosing wide aperture

Why is this all important? Well first, if you aren’t familiar with what depth of field is, it is the range of distances in which the objects in the photograph will be acceptably sharp. For example, if I am using a 100mm lens, set my aperture at f/5.6, and focus on a subject 10 feet away, everything from 9.69′ to 10.3′ away from me will be acceptably sharp or in focus in the resulting image. If none of this is clear to you, or only partially understood, then go out and read Bryan Peterson’s Understanding Exposure first, and then come back to rejoin us. It is a bit complicated and difficult at first, but if explained properly – as he will do better than I could – it will soon click. Also, I have posted a simplified explanation and quick and easy lesson for using dramatic depth of field here.

So, according to George Schaub in Using Your Digital Camera (I have no idea who this is, but borrowed the quote from the above website) “(Depth of field) is one of the most creative and profound effects available to photographers.” I absolutely agree with this. My photography improved 2000%, virtually overnight, when I understood and began to use the creative and visual power of dof. And this is why I shoot on Aperture Priority Mode (Av) 98.5% of the time.

I don’t want to go into the technical aspects of dof, and it can get extremely technical, but I will touch on some of the practical aspects of it. The ability to control dof is one of the many advantages of a digital SLR vs. a digital compact camera. Due to the small focal length, small sensor, and limited aperture sizes, a compact can typically not create the dramatic dof available to a dSLR user. And if one has a super-zoom type camera that will allow better use of dof, the controls to utilize it may be more cumbersome that with a dSLR.


Chichicastenango Market, Guatemala – 200mm, f/4, subject distance 7.4m (image cropped)
Man in focus, surrounding people slightly out of focus – achieved by being a few dozen feet away, zooming all the way in with 200mm, wide aperture

So why does one utilize dof? One reason is to better call attention to, or even isolate the intended subject of your photograph. When looking at an image, the eye tends to first go to what is sharply in focus as well as to what is lighter. If it is a busy scene with lots of possible subjects, the eye wanders aimlessly around all parts of the photo, and won’t necessarily focus on the subject you intended them to look at. By placing your intended subject in sharp focus, and the background and other elements out of focus to a lesser or greater degree, the viewer zeros in on what you intended them to. It can also be used to create various relationships between your subject and their environment or between your subject and other subjects in the frame. For example, a person who is your subject could be in sharp focus, while the background or elements around them are very much out of focus. This visually draws the subject out and leads the viewer to see this person as the sole subject of the photo. However, if the background or surrounding elements were just slightly out of focus, the viewer then sees the person as well as their surroundings, and starts to consider the relationships between them. By manipulating dof, you can work towards suggesting, defining and creating these types of relationships in your compositions.


San Miguel Duenas, Guatemala – 97mm, f/4, subject distance 3.3m
Girl in focus, boy and background environment (their home) slightly out of focus – achieved by standing a dozen feet away or so, zooming in to 97mm, wide aperture

And why does one need the dof calculators? Since dof varies so widely depending on the lens being used, the distance to the subject, and the aperture, it is difficult to know precisely what distance range is going to be in focus. One can use the dof preview button on the camera, but it is often difficult to determine through the viewfinder what the dof will be. So with the dof calculator, you can plug in various numbers and learn how a certain lens is going to act in a particular situation. Then, by using your lenses often, and experimenting with various apertures and various camera-to-subject distances, one can begin to get an intuitive feel for how each lens works, and how dramatically different a 16mm at f/4 aperture is from a 200mm at f/4 aperture. And when you are in a situation that allows it, you can pull out your iPhone or your field calculator, and determine a precise dof in advance.


Antigua, Guatemala – 127mm, f/5, subject distance 5.3m
Woman in focus, statue on distant church facade out of focus yet recognizable – achieved by standing a few dozen feet away, zooming in to 127mm, wide but not widest aperture

I like using a very wide aperture (like f/4 or f/5.6) to create very shallow, dramatic dof in many of my images. However, I typically don’t want it to be so shallow that a person’s nose is in focus and their ear is out of focus (though this is a dramatic and sometimes desired portrait “trick”). Also, when photographing action, such as dance, I want a little leeway so that if I focus on a hat instead of a face, or if the person moves forward a bit, there is a enough dof that their face will still be in focus. And this is why I originally began to search for depth of field tables, so I could better understand how my lenses were going to respond in certain situations.

Now, as a little, technical side note, I was always taught in school to be aware of the 1/3 – 2/3 rule which says that 1/3 of the in-focus area will be in front of the spot where you focus, and 2/3 will be behind it. So if you were standing at the front of a row of people, and turned back around to look down the line and take a photo, and focused on the 8th guy in line, this rule says that perhaps (due to your particular lens/ aperture/ distance choice) one person in front of him will be in focus too, and 2 people behind him will be. It turns out, this really isn’t accurate at all. Most often it is closer to 1/2 the distance in front of the focus spot and 1/2 behind it. I have no idea why they taught us 1/3 – 2/3.

Canon 7D Tutorials

I’ve run across a nice set of video tutorials (link below) for using the Canon 7D. You can watch them online, or even download them to your camera for viewing. The one on AF Custom Functions is especially helpful at clarifying those setting. Be sure to look around on the Canon Digital Learning Center to find all kinds of other cool stuff about using your camera plus useful tips and instructions from pros who use them. Also, be sure to have a look at my tutorial for the Canon 7D, Assignment Guatemala: Canon 7D, which discusses many of the custom functions and settings of the 7D, and how and when to use them in real world situations.

link to Canon 7D Video Tutorials

Also I’ve written an e-book user’s guide for the Canon 7D called Canon 7D Experience.  It not only explains all the features, functions, and controls of this powerful, sophisticated, and highly customizable camera, but also when and why to use them in your photography.  You can learn more about the guide, preview it, and purchase it here.


San Juan del Obisbo, Guatemala – photo by dojoklo

The distinctive voice you hear in the 7D tutorial videos is Canon guru Rudy Winston, and the photo samples are his images as well. If you are in NYC, you can often find him leading workshops and presentations at places like B+H and Adorama. I went to a wonderfully informative introduction to the 7D that he gave a B+H a month or 2 ago, and these videos are pretty much the same presentation.

Canon 7D vs. 5D vs. 50D

I read a lot of arguing back and forth on forums regarding one camera vs. another in terms of their capabilities and performance such as high ISO performance, low light capabilities, etc, etc, etc.  Well, here’s an actual test site that may shed some real, fact-based light into these arguments.  It is interesting to see that in actual tests, the 50D consistently outperforms the newer and much pricier 7D in most areas, only falling short by negligible amounts in ISO sensitivity and dynamic range at lower ISOs.

And here is a post I wrote that goes into more detail in comparing the features of the Canon 7D, 5D Mark II, and the 50D.  Plus a little bit about the 550d (T2i) as well.


Roosevelt Island, NYC

Even More Canon Rebates

In addition to the instant rebates Canon USA has on numerous lenses and Speedlites, there is a new rebate on select camera-lens kits.  I also just discovered (through an ad on Amazon) there is also a loyalty program rebate offer.  If you bought and registered a Canon camera in the past, and then bought a new one recently, you may be eligible for a $20 mail-in rebate on PowerShot cameras and $50 mail-in rebate on EOS cameras.

Click here for all the info:

Assignment: Guatemala – Canon 7D Tutorial and Review

I recently returned from a trip to Guatemala, where I was taking photos for an NGO that works with children, literacy, and education. It gave me the perfect opportunity to try out a bunch of new equipment and really put it to the test in the field.


San Miguel Duenas, Guatemala – Canon 7D, 70-200mm f/4L IS lens at 78mm, 1600 ISO, 1/100, f/5.6

Jump to the Custom Function section

First and foremost, it was the first time I really had the opportunity to use the Canon 7D body (I discuss the additional gear in this related post). The camera performed wonderfully in many ways, however, I did have autofocus related problems – namely a serious front focus issue. With both wide angle and telephoto L-series lenses, the camera was consistently focusing several inches or more in front of the subjects. I played around briefly with the AF Microadjustments, with the intention of taking a closer look at the situation when I returned home.  (Body was later exchanged for another that focuses properly.)

I had another, odd and unexpected complaint in the field, and that is with the high speed shooting modes. One has the choice of 3fps or 8fps, yet I needed something more like 5fps! I’ve included some images throughout the post that are straight from the camera (I merely converted from RAW to JPEG). Anyway, on to the review and instructions for many of the camera’s settings, and how and when to use them in real world situations. And at the end there is some info about video tutorials available for downloading and watching.

If any of the digital photography terms you come across in this post are unfamiliar, be sure to refer to this great glossary for assistance.

Design – The camera is extremely comfortable to hold and use, especially due to the size, shape, and material of the grip, and it felt to be designed perfectly for my hands. It is nicely weighted with both a 16-35 f/2.8L II and a 70-200 f/4, and carries well with an R-Strap attached to the camera body (the 70-200 f/4 doesn’t come with a collar). Due to its similar design and button placement as previous Canon models, it was easy to get used to changing various settings on the fly – everything from ISO right up on top to Flash Control in the menus. There are a few settings that I quickly fell into, but that I would like to experiment with a little more with before I settle permanently into. Here are a few notes, in no particular order of importance:

Av Mode – I set the camera to Av mode for 99% of the time, as that is how I typically work (because I always want to control the depth of field). About the only time I took it out was when I was experimenting in an HDR type situation where I was in Manual and bracketing, trying to properly expose both a dark colonnade I was under and the cathedral in bright sunlight beyond. I haven’t yet worked on combining the exposures, but here is a nice shot that came from that situation:


Antigua, Guatemala – Canon 7D, 16-35 f/2.8L lens at 16mm, 1600 ISO, 1/500, f/16

(edit – I added the camera and lens information to these images.  Please note that the camera settings used for these various images may not necessarily be the “best” or “ideal” settings to use in the specific situations, but camera settings are always the result of changing situations and lighting, coming from another scene, going back and forth between action and still subjects, adapting, experimenting, and sometime just plain not paying attention!)

ISO – I had high hopes for Auto ISO, thinking I would finally be given the freedom to stop worrying where I left it set, but I quickly found that in Av, I didn’t like the slow shutter speeds that were resulting when I selected the aperture and the camera selected the ISO. So I ended up never using it. I would like to experiment with it some more, and figure out if there is something I can do to keep the shutter speeds in a better range. It is wonderful to have the versatility to change ISO on the fly, but one often gets caught up in shooting, and forgets to change it to an appropriate setting, and thus sometimes the shutter speed isn’t the most ideal. So, I just have to stay in the habit of paying attention to where all three settings are as I go from indoor to out or change lenses, etc. This is aided by these settings being visible in the 7D viewfinder.

High Speed Continuous Shooting – many people marvel at the 7D’s ability to shoot 8fps in High Speed Continuous Mode. However, for my purposes on this trip, that proved far too excessive. I often shoot a burst of photos when someone or something is in motion and I want to capture the peak of action or a flattering pose, or when a gesture or facial expression might change rapidly. Unfortunately, 8fps results in a lot of unwanted files, and as I will soon address, these files are HUGE and rapidly fill up a hard drive. But sadly, the Low Speed Continuous drive setting is only 3fps, which is too slow to capture the rapid changes in a scene. The 3fps speed was one of the main drawbacks of my previous body, and a major reason for upgrading. What I need is something in between, maybe 5fps! Perhaps Canon or someone will tweek the firmware to allow this…


San Miguel Duenas, Guatemala – Canon 7D, 16-35 f/2.8L lens at 35mm, 800 ISO, 1/500, f/3.5

Custom Functions – In order for you to get the most out of the 7D, and to set it to function best how you work, you need to dig into the Custom Functions. One of the settings I use is customizing My Menu, and then having My Menu always appear first when I hit the Menu button. (My Menu Settings / Display from My Menu=enable) I played around with different items on My Menu, but have settled for now on the ones that I use most often or that I may quickly need and want to access without digging into the menus. They are:

Flash Control – you can quickly adjust all the settings for the built in flash, external flash, wireless flash. You can even control all the setting of the 580EX II remotely – when it is not attached to your camera. Very cool.
Exposure Compensation/ AEB – exposure compensation is easy to change at any time with the big dial, so this shortcut is for using when I want to bracket (AEB).
Review Time – I found that I was often shooting away without chimping (looking at the LCD), so I often just turn off the LCD review altogether. Other times, however, I want to review.
ISO Expansion – I haven’t used this yet, but I wanted it handy in case I want to use the high ISO. I typically have this turned off because I didn’t want the camera to default to High ISO during any situations. But considering I wasn’t using Auto ISO, this all seems unnecessary, and now that I realize this, I will have to replace this with something else on the menu! I never went above 1600 ISO, which I did have to use sometimes in very dark classroom settings along with the flash. Upon quick review of those images, the lack of noise in these files is really good.
Format – this is to format the memory card in preparation for use the next day. Always reformat the card, never simply erase them or use the Erase All option if your camera had that (the 7D does not). However, after formatting, turn the dial to select another menu item so that next time you hit Menu, Format isn’t still selected and you quickly make a grave mistake of pressing it.
Highlight Tone Priority (II-3) – this is a great setting to use in a high key situation, or with a bright subject or scene. It helps to retain detail in the highlights so they don’t get blown out, such as a white wedding dress, or a snow or beach scene. I never did use it, but I keep it in this menu to remind me it is there for the day when I do need it!


Chichicastenango, Guatemala – Canon 7D, 70-200mm f/4L IS lens at 155mm, 200 ISO, 1/80, f/4

Other important Custom Function Settings

(please note, this post was initially written to explain how I used these settings in a specific travel situation.  I go into more detail about each of the Custom Function settings, with clear explanations of what they are and when and why to use them, in my e-book Canon 7D Experience, which is discussed below.)

Safety Shift (I-6) – I sometimes enable this setting. It allows the camera to shift the shutter speed or aperture automatically, without your expressed permission, in order to get the shot. This is great for situations where the light suddenly and dramatically changes, such as at a concert.  However if you are carefully choosing your settings, or working with a flash, you will want to disable this so that the camera isn’t overriding your careful settings.

AI Servo Tracking Sensitivity (III-1) – This dictates how quickly focus tracking switches to another subject when it momentarily loses the initial subject, such as when another subject passes in front of it. You can choose to have it stay focused on the initial subject (Slow), or focus quickly on a new subject that moves in front of your initial subject (Fast). Typically I want to stay focused on my selected subject, and ignore someone or something that momentarily passes between us. If you want to quickly focus on different subjects at different distances, put it on fast.

AI Servo 1st/2nd (III-2) – Is your priority focusing on the subject, tracking the subject, firing off rapid shots? Look at the manual to see which situation works best for how you shoot.Personally I think 0 or 1, with the autofocus (AF) Priority, is best. (The camera makes sure it focuses first before taking the shot. It may cost you a microsecond of time however.) Regarding tracking vs. drive, I keep it at 0. Setting 0 continues to prioritize focusing possibly at the expense of speed, while setting 1 will prioritize the speed of subsequent shutter releases at the expense of focus.

AI Servo AF Tracking Method (III-3) – This works with autofocus modes where more than one AF point is active. The names of the choices are a little confusing but what they do is Setting 0 will focus on a closer subject that enters into your view, not necessarily in front of your subject. while setting 1 will remain focused on the initial subject. I keep mine on 1, since I want to stay focused on my initial subject.


San Juan del Obisbo, Guatemala – Canon 7D, 70-200mm f/4L IS lens at 200mm, 100 ISO, 1/1000, f/4

AF Focus Mode (III-6) – I enabled all the AF modes in the Custom Functions – by default, several of them are not available to you unless you change that setting. I started out using Single Point, but sometimes changed to Spot for more precision. The cost of using Spot is that it may not focus as quickly or as well when hand held or with a moving subject, and is generally not necessary unless you are trying to focus on a very small, precise area, such as through a fence to a subject beyond.  I occasionally used AF Point Expansion when photographing rapidly moving children. I don’t know how other photographers work (according to a Canon rep who gave a 7D presentation at B+H, there are big name professionals who still just focus with the center point and recompose), but I always choose the focus point I want manually, using the Multi-Controller button. This takes a little longer, now that I am dealing with 19 focus points, but that enables me to quickly get the composition I want, makes sure the camera focuses on what I want it to, and to get subsequent shots without too much reframing. There is an important menu setting so that you can use the Multi-Controller directly to change the AF point without having to press the AF thumb button first – I believe it is on the screen where you can customize all the camera’s buttons. Oh, and I changed the custom settings so that all the focus points always show, and that they light up upon achieving focus, even in bright sunlight (which they would not do if you had this setting on Auto or Disable). That way I always know when it has focused.  And I set Custom Function III-7 to stop focus point selection when I reach the edge and not loop around to the other side. I’m also thrilled that the 7D has a grid display that you can turn on in the viewfinder, which helps me keep my horizons and compositions straight. The viewfinder looks pretty busy, filled up with AF points and the grid, but when you are shooting away and focusing on your subject, you don’t even notice they are there.

Single Point Focus vs. Spot Focus Size – This controls the size of the area being looked at for focusing purposes on the 7D.  With Single Point AF Area Mode, the camera is actually looking at a cross shape area (all focus points are cross type, center point is dual diagonal as well at certain apertures) that extends about 2x as big as the actual square you see in the viewfinder. With Spot AF Area Mode, the size of the cross is about the size of the square you see, I think perhaps slightly larger.  Now you might think that using Spot AF will be more accurate all the time and sounds like a great idea and will get you sharper pictures, but this is not necessarily the case.  Since Spot AF is so precise, and since autofocus works by looking for an area of contrast, Spot AF may not focus as well or as quickly in many general situations (because it may be looking at such a precise area that is all one color or  tone).

Spot AF is for when you need a really precise “focus beam” to pinpoint, for example a bird in a tree, and not the branches and leaves surrounding it and all around it, which may be closer to you and the camera.  Or if, say, you are shooting through a chain link fence and you want the camera to focus on the animal beyond and not on the fence.  If you were to use Spot AF all the time, you would have to continue to act in a slower and more precise manner, so that you ensure you are focusing on an area of contrast or a nice line.  For example, if you capture a shot of a person, you want to focus on the eye typically.  If you do this quickly with Single Point AF, you can aim at the general area of the eye and you will likely include it in the area being looked at by the camera.  However if you grab a quick shot with Spot AF, you may  be a little off and the camera is looking at an area of cheek to focus on, which will be difficult since there isn’t much contrast there.

Orientation Linked AF Point – This setting allows you to choose your favorite AF points, and when you are hold the camera horizontally or vertically, those points are automatically selected. However, it is very complicated to set, so much so that is would seem Canon doesn’t even understand it. The Canon rep did not fully explain it properly at the B+H presentation, the instructions in the manual do not work, and after 3 different instructions by email from Canon, I may finally have the correct way. I still have to try their latest directions. (note- nope, latest instructions still don’t work properly) **12/17/2009** AHA!! Here it is, finally explained in its entirety.

I also changed the button/ dial function settings so that in Manual mode, the big dial controls shutter speed and the top dial controls aperture. The default is the opposite. I changed this because I almost always shoot in Av mode, where the top dial controls aperture, so when I switch to Manual mode, I want that to remain the same.

Additional edit – August 2011:
I have written a popular e-book user’s guide for the Canon 7D called Canon 7D Experience. It not only explains all of the features, functions, and controls of this powerful, sophisticated, and highly customizable camera, but also when and why to use them in your photography – including EVERY Menu item and Custom Function setting, with explanations and recommended settings for real-life use.  You can learn more about the guide, preview it, and purchase it here.

 

AF Microadjustments – This is a setting on the 7D which enables you to tweak the auto-focusing to your different lenses. A site about AF micro adjustments that look to be helpful is below:

http://www.northlight-images.co.uk/article_pages/cameras/1ds3_af_micoadjustment.html#Anchor-Canon-49575

Here is a micro-adjustment focus test chart you can use.

Viewfinder – The viewfinder on the 7D is big and bright and wonderful. It is nearly 100% view of the image you will capture. The aperture and shutter speed info is of course displayed below, along with the current ISO setting, which one should get in the habit of glancing at often. See the AF Focus Mode category above for more info on what you can view in the viewfinder to assist with focusing and composition.

Picture Style – I had this on Standard, since I shoot in RAW and intend to post-process, however, I would like to do a comparison of the styles to see which one best matches my visual preferences – although the Picture Styles will only affect JPEGs and, it is important to know, the image you see on your rear LCD screen when shooting RAW.


Jalapa, Guatemala – Canon 7D, 16-35 f/2.8L lens at 35mm, 800 ISO, 1/2000, f/8

File Size – I shot RAW for almost the entire trip, and quickly discovered that these files are HUGE. The files range from about 21MB to around 31MB each. I used SanDisk Extreme III 16GB cards, which worked great, and one card often lasted much of the day. I have no good reason for using SanDisk over Lexar, other than the fact that the Lexar people haven’t approached me about sponsorship… :) The Extreme III cards have been replaced by the new Extreme and Extreme Pro cards, and are thus the old ones are much cheaper at the moment, especially with current rebates. At 30MB/s, they were fast enough for the types of shooting and short bursts I was doing. However, downloading them to my computer and external HD were pretty slow using the SanDisk ImageMate CF card reader. Eventually I’m going to have to spring for a card reader that goes right into the PC slot. I used Adobe Bridge to simultaneously save the day’s files to 2 external hard drives. The 160GB Iomega Ego filled up before the trip was over, but fortunately I also had a Lacie 500GB. I am dreading the number of external hard drives I am going to have to buy for travel and for home storage, but once you go RAW, it’s hard to go back to shooting just JPEG. I’m going to have to look into the Drobo system that many rave about.

Battery Life – The battery life of the 7D is excellent. When you get new batteries, first charge them all the way. Do not recharge until they are completely drained. Do this one or two cycles. I know they say you no longer have to do this, but some claim that seasoning the batteries like this will maximize their charge life. Anyway, one battery lasted well into 2 days of shooting, maybe longer, I didn’t keep track. They just keep going, even with heavy use, chimping (LCD reviewing), frequent use of an external Speedlite flash, and use of image stabilization (IS) on the 70-200 lens. I carried 3 batteries, but probably could have gotten away with 2. The spring-loaded battery door that pops right open for quick battery changes is a nice touch.


Antigua, Guatemala – Canon 7D, 70-200mm f/4L IS lens at 78mm, 100 ISO, 1/250, f/4

Automatic Sensor Cleaning – Like most good dSLRs these days, the 7D automatically cleans the sensor at start up and shut down. Since the dust that is shaken off is collected on a tiny sticky strip at the base of the sensor, it seems to me that you should hold the camera straight as this happens. I’m not sure if this is actually true, but I think I read in the manual that it even says to place the camera flat on a table as you use this, so I have gotten in the habit of holding it straight and still as I turn it off and on. Yeah! No more having to clean the sensor manually with a Rocket Blower!

Video – I did not have a chance to even experiment with the HD video on the 7D yet…so much to learn, so little time…

The next post will review all the other gear I used on the trip – the camera backpack, R-strap, accessories, etc. – and perhaps some of the other lessons learned. Read it here.

Purchasing: If you plan to buy the Canon 7D or any other camera or equipment from Amazon.com, I would appreciate it if you use my referral link by clicking on the text or logo below. Your price will be the same, and they will give me a little something for referring you, which will help support this blog. Thanks!


See and buy the Canon 7D on Amazon

And due to popular request, if you are in the UK, here is my referral link to Amazon UK.

And for those wishing to purchase from B&H Photo, Adorama, or directly from Canon just click their logos on the left side of the page.


Jalapa, Guatemala – Canon 7D, 70-200mm f/4L IS lens at 200mm, 200 ISO, 1/1600, f/4

Again, be sure to check out my e-book user’s guide for the Canon 7D called Canon 7D Experience. It not only explains all the features, functions, and controls of this powerful, sophisticated, and highly customizable camera, but also when and why to use them in your photography. You can learn more about the guide, preview it, and purchase it here.

I’ve run across a nice set of video tutorials (link below) for using the Canon 7D. You can watch them online, or even download them to your camera for viewing. The one on AF Custom Fuctions is especially helpful at clarifying those setting. Be sure to look around on the Canon Digital Learning Center to find all kinds of other cool stuff about using your camera plus useful tips and instructions from pros who use them.

link to Canon 7D Video Tutorials

The distinctive voice you hear in the 7D tutorial videos is Canon guru Rudy Winston, and the photo samples are his images as well. If you are in NYC, you can often find him leading workshops and presentations at places like B+H and Adorama. I went to a wonderfully informative introduction to the 7D that he gave a B+H a month or 2 ago, and these videos are pretty much the same presentation.

Here is additional information from Canon Europe about custom functions of the 7D: