Canon has revealed the full specification of the the highly anticipated EOS R3. A high-speed mirrorless camera built for professional photography that lets you photograph sport, wildlife and news at a remarkable 30fps. To keep up with the high shooting rate the EOS R3 has an improved autofocus engine for enhanced low light AF performance and vehicle tracking in addition to eye, face and body detection AF which will be a great benefit for photographers covering motorsports.
The Canon EOS R3 £5879 including VAT. Latest offers are featured on our sales page. Our sales team are taking orders call us on 0207 582 3294 or email sales@fixationuk.com
Canon EOS R3 features
Canon promise speed, reliability and sensitivity from this new digital camera which will be compatible with all RF lenses.
24 megapixel Stacked, back illuminated (BSI), CMOS sensor
The EOS R3 will be the first camera to contain a newly developed stacked full-frame sensor with faster output speeds, combined with a Canon DIGIC X imaging processor, to enable 30fps continuous shooting while retaining full AF/AE tracking and electronic shutter speeds up to 1/64000th second. Back illumination in the sensor offers greater sensitivity with an ISO range of 100 to 102,400 (extendable to 204,800).
AF improvements
Low light improvements will help the EOS R3 lock on in the most challenging lighting: Sensitive to -7.5 EV Vehicle AF has been added to the Autofocus algorithm in the EOS R3 to help locking on to and tracking vehicles across the frame. Ideal for the motorsport photographer, especially if face and eye tracking modes could pull the focus to the crowds beyond the track. The AF subject in the frame can be selected based on the camera detecting your eye movement. Change focus area by simply looking to another part of the frame, or at a new subject then half-press the shutter button to lock on to the new subject. The intellegent tracking mode from Canon recognises people, animals and vehicles.
Built-in vertical grip – compatible with the LP-E19 batteries
Canon have positioned the EOS R3 between the flagship EOS 1DX mark III released in February 2020 and the EOS R5 which launched in July 2020. The EOS R3 will be the first Canon EOS R camera to feature built in vertical and horizontal grips seen in the EOS 1D series, it also takes the same LP-E19 battery making it easier for 1DX mark III users to try the new body and switch across. The body will be dust and weather sealed using methods developed with each iteration of the EOS 1D series however at 1015g with card and battery, the body is significantly lighter than the DSLR equivalent. We picked up a pre-release body at the BPPA hands on event and there is a noticeable reduction in weight compared to the EOS 1DX mark III.
New Digital Hot Shoe
The hot shoe on the Canon EOS R3 looks a little deeper than we are used to seeing. A new array of contacts have been added to enable digital connections with a new microphone the Canon DM-E1D and a new wireless flash transmitter Canon ST-E10 compatible with the EL-1. The traditional 6 points of flash contact are still present so the EOS R3 will be compatible with all previous Canon flash, third-party speedlights and triggers.
EOS R3 top cover with longer hot shoe (L). Close up from rear showing row of gold contacts within the hot shoe unit (R)
Canon EOS R3 Availability
First shipments are expected in November, our sales team are taking pre-orders call us on 0207 582 3294 or email sales@fixationuk.com.
The GFX50S II is the latest addition to the GFX Series of mirrorless digital cameras range from Fuji which is equipped with a 51 megapixel medium format sensor. As well as the new camera body Fujifilm adds a GF 35-70mm zoom lens for medium format and two XF lenses for the APS-C Crop sensor X series camera bodies.
For more information or to place an order contact our sales team on 0207 582 3294 or email sales@fixationuk.com
Fujifilm GFX50S II
The GFX range from Fujifilm are mirrorless cameras with a sensor larger than those found in many full-frame 35mm DSLR or mirrorless digital cameras. The GFX 50S II has the same tried and tested 51.4 megapixel sensor as it’s predecessor GFX50S with some significant improvements to key features:
The GFX 50S II camera body with a lens attached.
Lighter, weather sealed camera body
The GFX50S II weighs only 900g, the electronic viewfinder is now built into the camera body and weather sealed buttons and controls allow the camera to be used in tough conditions.
5 Axis IBIS image stabilisation
The high resolution sensor sits on a powerful five-axis in-body image stabilisation (IBIS) mechanism to smooth out camera shake. The gyro sensor that detects movement has been designed to boost its detection accuracy for precise image stabilization. That provides up to 6.5 stops of anti-shake advantage, when mounted with the FUJINON Lens GF63mmF2.8 R WR and will enhance the ease of using all lenses shooting handheld.
Pixel Shift
For ultra-high resolution the GFX50S II can produce up to 200 megapixel images by combining multiple shots. As well as increasing the available file size, image reproduction or cropping options the combined image processing can help to reduce lens artifacts such as chromatic aberration.
Improved AF
The Focus performance has been improved on the GFX50S II: The image processing and on-sensor phase detection AF runs through the “X-processor 4″ processing engine with an improved algorithm which gives a faster sample rate. The new IBIS stabilizes the during focusing to improve the lock-on speed for more reliable focus results.
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FUJINON Lens GF35-70mm F4.5-5.6 WR
Fujinon GF 35-70mm f4.5-5.6 WR Lens
This palm-size GF zoom lens boasts of being the smallest and lightest in the GF zoom series. A compact and lightweight zoom lens, weighing approximately 390g, with outstanding image-resolving performance and focal length range covering from the most frequently-used 35mm in wide angle to the standard 70mm. The lens offers the minimum working distance of 35cm across its zoom range, enabling a close-up shot of a subject approximately 25cm from the front-most element of the lens. This gives the lens the ability to cater to a variety of situations at a preferred angle of view. The lens has a dust- and moisture-resistant construction and can operate at temperatures as low as -10℃ and is unaffected by rain.
FUJINON Lens XF33mmF1.4 R LM WR
Fujinon XF 33mm f1.4 R LM WR Lens
The new addition to the line-up of interchangeable XF lenses designed for the X Series of mirrorless digital cameras, known for their outstanding image quality based on Fujifilm’s proprietary colour reproduction technology.
The XF33mmF1.4 is a highly versatile standard prime lens with the focal length equivalent to 50mm in the 35mm film format, making it an essential new-generation lens for all X Mount users. The X Mount format has undergone continuous development in pursuit for advanced image quality. This lens has been designed to support camera sensors of even greater resolution to be developed in the future, offering exceptional image sharpness and advanced image-resolving performance even when wide open. It also offers impressive mobility and is equipped with a silent, fast and highly accurate AF system driven by a linear motor, enabling tack-sharp focus in stills and smooth focusing in video recording. The ruggedized dust- and moisture-resistant design comes in X Mount’s signature portability, weighing approximately 360g and measuring 73.5mm in length and 58mm in filter thread.
FUJINON Lens XF23mmF1.4 R LM WR
Fujinon XF 23mm f1.4 R LM WR Lens
The XF23mmF1.4 is a new-generation prime lens, designed with a view to support future camera sensors of even greater resolution, which features a fast and highly-accurate AF in compact, lightweight and ruggedized construction to take advantage of the fully overhauled optical performance in stills, video and all shooting situations. With the highly-versatile wide focal length of 23mm (equivalent to 35mm in the 35mm film format), the lens boasts uncompromising optical performance to deliver incredible sharpness even when wide open at F1.4. It controls camera shake and digital noise in low light, giving users flexibility on when to shoot. Its shallow-depth of field renders the background out-of-focus for creamy bokeh, adding three-dimensional definitions to the main subject. The use of nine aperture blades ensures nearly round shape bokeh effect even around the maximum aperture. The lens is easy to handle despite being a large-aperture prime, weighing approximately 375g and measuring 77.8mm long with the filter thread size of 58mm. The XF23mmF1.4 rewrites the existing benchmark to drive the evolution of the X Series for the next decade and beyond.
The British Press Photographers’ Association is commemorating not one year of great photography, but two. With the world having temporarily been put on pause for much of 2020, the Assignments 2021 exhibition is covering stories from April 2019 onward. One hundred images have been selected, representing the best of the best reportage photography in the country.
One selected image is Samir Hussein’s transcendent shot of Stormzy performing at the 2019 Brit Awards – one of the last live music events to happen before lockdown. A moment of strange calm in the midst of a kinetic performance, Samir’s image captures the essence of one of the country’s most important artists of the moment.
As the exhibition prepares to open, we spoke to Samir to learn more about how he captured this incredible shot.
Jon Stapley: Congratulations on a fantastic exhibited image, Samir! How did it feel to learn that your image had been selected for Assignments 2021?
Samir Hussein: I was absolutely delighted. The BPPA have done a great job of bringing together the past two years’ worth of pictures – maybe more due to Covid – and they got so many great photographers from all over the industry, so to have a picture or two included is amazing. They must have had so much incredible imagery to go through.
JS: Tell us about capturing this image – do you remember the few seconds when you clicked the shutter?
SH: It was at the Brit Awards; it was the last music I shot before we went into lockdown. I shoot the Brits every year, and I’d shot Stormzy the year before and got a really great image. He’s just amazing live, and always seems to produce these incredible images with so much energy.
I remember it was quite a spectacular show, but there was this one point – which was when the picture was taken – where all these people came together as one, dancing like crazy. I remember thinking it would make a lovely moment. I could see all the people around him going crazy with so much energy, but what I really wanted was something from him to show his energy. Because a lot of the time, he had a mic to his mouth, and the energy wasn’t really translating.
But then there was just this one moment, and you can see it in the picture, where he had his arms to either side and was looking up. It did seem to capture something from him and really brought the picture together; it was just a second or two when he made this expression, and it all came together as a picture. I remember just trying to capture that amongst all the madness.
JS: That’s very interesting – because you’re right, it’s a beautiful expression and positioning from him, but probably wasn’t something he was doing very often during the performance.
SH: No, he wasn’t. And it wasn’t like I was getting bad pictures by any means, there were still great pictures because of everything going on, and the lighting looked amazing. But I was just looking for that moment from him that would really bring it all together, and that was the moment.
JS: You’ve photographed plenty of different artists live throughout your career – do you find you have to approach them differently? Does photographing Stormzy require a different approach to photographing, say, Taylor Swift?
SH: Well, you’re always looking for that same little moment of emotion, to help to translate to the viewer what it might be like to be there. Obviously someone like Taylor Swift is going to be quite different to Stormzy; it’s a very different kind of show. But all the same, you’re just looking for those little moments that mean the viewer can look at the picture and the energy of that show is translated. It can often be just a second or two.
With some artists, it’s a lot easier than others. Some artists, you know that every time you photograph them you’re likely to get a standout image, and Stormzy is definitely one of those artists. I’m actually going to be doing Reading Festival this weekend, and he’s one of the headliners so I’m looking forward to seeing what he brings along to that one.
JS: So Reading is your next job? Have you done it before?
SH: I haven’t, actually. I normally do Glastonbury every year, and a few of the big London gigs like Hyde Park. But because there’s no Glastonbury on this year, I think Reading is probably the biggest one that’s been able to go ahead, so I thought I’d give it a go. It’ll be great to be shooting live music again; I photographed Tom Jones a couple of weeks ago, and that was the first live music I’d shot for a long time because of Covid.
JS: It must be so nice to be back into it again.
SH: Definitely. I do a lot of events, showbiz and Royal photography and stuff like that, which was all largely shut down. Now all these things are coming back so it’s really exciting.
Samir Hussein is on Instagram as @samhussein1 his website is samirhussein.com. The BPPA Assignments 2021 exhibition runs at Bargehouse London, Oxo Tower Wharf, London SE1 9PH, from August 27th to September 5th.
The 100 images selected for the BPPA Assignments 2021 exhibition cover some of the most seismic news stories from the past couple of years. The abrupt exit of Dominic Cummings’ – special advisor to Prime Minister Boris Johnson and architect of the Brexit campaign – was one of the biggest political stories of the year.
While rumours had been circling that Cummings was on his way out, no one knew precisely how or when. While it had been thought that Cummings would stay on until Christmas, an auspicious Friday 13th of November 2020 saw his abrupt exit from Downing Street carrying a box of personal effects. One of the press photographers there to capture the scene was Hollie Adams, whose atmospheric, street-lit shot would go on to earn a place in the BPPA Assignments 2021 exhibition.
As the exhibition prepares to open, we chatted to Hollie to get the story behind the shot…
Jon Stapley: Hi Hollie – congratulations on getting an image featured in Assignments 2021! How did it feel to find out?
Hollie Adams: It was great. I’ve not actually had a picture hung on a wall before, so I’m excited to see it. I’ve been down there helping out the last couple of days, and it’s exciting to see the exhibition all come together, and see all the work that people have managed to produce, even during a lockdown.
JS: So this particular image, can you talk us through the moment you captured it?
HA: There was a bit of mad panic. I had got a call early in the morning asking if I could get to Dominic Cummings’ house, but by the time I got there he’d already left. So I’d kind of started the day on the back foot, and I was thinking to myself, “I’ve gotta get him, I’ve gotta get him at some point.”
I was at Downing Street all day, waiting and waiting. I got another call saying, “You know, if you think nothing’s going to happen, you can probably head off.” But I thought I’d just give it a bit longer. Another photographer had already left. But then, out of nowhere, Dominic Cummings just walked out of the front door with a box.
It seemed very deliberate. We weren’t expecting it, because if he’d wanted to avoid us, he could have. Because I’d missed him earlier, I’d set up an off-camera flash to make sure I got the lighting right. It was in winter, so it was getting dark really early at that point. And when he started walking down the street, all the other photographers continued to shoot him, and I only had a camera with a long lens in my hand and my flash was off-camera. So I panicked, and I just thought, “Well, there’s available light in the street,” so I ran out into the street after him. And to my surprise, he stood there and hailed a cab. Obviously he was very aware of the photographers, and to me it seemed like a very deliberate move.
When I started getting messages from people, that’s when I knew. At the time I didn’t really know that I had got a great shot, but when people started messaging me, that’s when I knew I’d got something good.
JS: I guess you never really know for sure until an image gets out there into the world.
HA: In the moment, all you’re thinking about is making sure everything’s right, that the exposure’s right, trying to predict where people might go so that you’re in the right position. There’s a lot of luck too.
JS: How long have you been doing press photography?
HA: I’ve been in London for two years now, but I was on staff at a national newspaper in Australia, and I’d been there for five years. So I’ve been doing it for about seven years.
JS: That’s quite some time! Are there any skills you’ve learned that you think are particularly important?
HA: Working in London is really different to working in Australia, and working at a newspaper is quite different to working for a newswire. You spend a lot of time on the street. But you also become a lot faster by doing a lot of hard news, and technically you learn a lot more because it’s really competitive. There are so many photographers in London, and you’ve really got to be on your game because there’s a lot to compare your stuff to. If you don’t get a great picture, people are going to see what else has been shot that day.
JS: There’s a standard you have to hit.
HA: Definitely. I was shocked at the number of photographers when I came here; I couldn’t believe it.
JS: Do you have your next assignment lined up?
HA: I just work day to day. I don’t have a project on the go; I take it as it comes and go where the news goes.
Hollie Adams is on Instagram as @hollieradams. The BPPA Assignments 2021 exhibition runs at Bargehouse London, Oxo Tower Wharf, London SE1 9PH, from August 27th to September 5th.
Thinking of starting a YouTube channel, or sharing videos of your exploits on Facebook, Instagram or another social media platform? Then you’ll want to pick up one of the best cameras for vloggers.
Welcome back to our vlogging kit series, where we run through some of the best cameras and other equipment that’s out there for prospective vloggers right now.
You may or may not have been tempted by the idea of vlogging before, but even if you’ve never considered it, we’d definitely recommend giving it some thought. Vlogging tends to demand less production value than other types of video, and as a professional working in stills or video, you already have a wealth of material to vlog about with a built-in audience. What kind of kit are you using for your shoots – what do you like about it, what do you wish were better? How do you approach different kinds of shoots and subjects? People are interested in this stuff, and being able to connect with them through vlogs is a great way to open up new opportunities and even potential revenue streams.
Today we’re taking a look at the Sony ZV-E10. Designed for creative vloggers who aspire to an artistic look, without the hassle. The ZV-E10 shoots 4K video at up to 30fps, unfortunately it doesn’t offer a 4K/60p mode for those creative vloggers who like to slow down their footage for cut-scenes. Still, you do get some of Sony’s latest autofocus smarts, including Real-time Tracking and Real-time Eye AF. These allow it to track a person around the frame and automatically keep them in focus.
The ZV-E10 is an interchangeable-lens vlog camera with over 60 lenses to inspire self-expression. Wide-angle lens options allow you to capture more of the locations or the natural backdrop, and bring your viewers along with you in a shared experience whilst creating dynamic footage. A fixed focal length lens will allow you to create a smooth, natural background blur that lets the subject stand out. It’s also useful when you want a brighter image in a dimly lit setting. Whilst a macro lens can get you closer to your subject, allowing you to capture the small details at a bigger size than with normal lenses and show off every glorious detail. Use a telephoto lens, to shoot far-off objects, scenery or action with clear detail, whether you’re vlogging while travelling or just shooting everyday life. Zooming in and out can also add an extra dynamic element to your story.
Let’s dig into its feature-set and find out why it’s designed for vlogging…
You can choose the lens that matches your style
Sony’s has an extensive range of E-mount lenses to help bring your vlog to the next level with stunning and unique imagery. Incorporate background scenery into your script with a wide-angle lens, or make the subject grab the viewer’s attention by using a fixed focal length lens with an artfully blurred background. Move in closer with a macro lens or pull in distant scenes with a telephoto lens.
A large-format image sensor for professional-quality images
The ZV-E10’s impressive images are the result of the camera’s large APS-C sized image sensor. Compared to a smartphone camera, the image sensor of the ZV-E10 is bigger, allowing for beautiful, professional-looking images with high resolution and intricate detail.
Designed for easy selfie and vlog shoots
Weighing in at just 364 grams the ZV-E10 is ready to hit the road with you whenever you’re ready to vlog. The side-opening vari-angle LCD screen makes it easy to take selfies and check your framing, even when you’re shooting from high or low positions, and the ergonomic grip is designed for a safe and stable hold.
4K video
The camera’s internal 4K video recordings are made using a full-pixel readout from the sensor. This means that the recorded footage has more visual data condensed into every frame, resulting in remarkably detailed video imagery.
Real-time tracking can do the focusing work for you
The ZV-E10’s AI-driven13 Real-time Tracking is intuitive to use. Simply touch the monitor to indicate the subject you want to focus on and Real-time Tracking will take it from there, keeping a steady hold on the subject.
Background blur control
There’s no need for complicated manual adjustments – just press a single button to turn background blurring (bokeh) on and off. The button switches between a blurred, bokeh-rich background and a clearly focused one, skipping all the complex setting.
Designed for clear voice recording even outdoors
Equipped with a built-in Directional 3-Capsule Mic, the ZV-E10 records voices clearly even in crowded settings. It’s optimised to capture voices in front of the camera with fewer distracting ambient sounds, perfect for vlogging use. The ZV-E10 comes with a wind screen, allowing worry-free recording when shooting outside. The supplied wind screen can be easily attached to the Multi Interface to reduce noise in windy conditions.
Smooth and stable images even while walking
The ZV-E10 will help keep things smooth and steady when you’re on the move. Active Mode electronic image stabilisation delivers stable video footage with minimal shake and blur during hand-held recording, and it’s available even when the Product Showcase Setting is on.
Add special effects in-camera
You can switch up your colours to create a variety of artistic effects. Just change the Creative Style setting, or choose from seven different visual effects using Picture Effect mode, without any additional post-production.
Handle long shooting sessions without battery worries
When you’re shooting outdoors or anywhere without a power supply, you can rely on the camera’s battery to power up to 125 minutes of continuous movie shooting or up to 440 still images. The camera also supports external power through a USB Type-C connector, allowing an external mobile battery to further extend your recording time.
An ideal vlogging setup with the Sony ZV-E10
If you want to maximise the production value you get out of the Sony ZV-E10, then it’s worth thinking about the best accessories to use. It doesn’t have to be a massive outlay of cash – a few well-chosen accessories can make a massive difference in the quality of your videos, not to mention the ease of producing them, and luckily for you, we’ve picked out a ready-made list of the best ones around right now. While this list isn’t exhaustive, it also isn’t compulsory – even just a few of these will really see your vlogging improve.
So here’s what we reckon you should get:
– A good all-encompassing lens. You ideally don’t want to be faffing about changing lenses too often. We’d say something like the Sony 16-70mm f/4 will cover a solid focal range that should give you all the coverage you need for the vast majority of your vlogging.
– A good shotgun microphone. A no-brainer here for improving the sound quality of your videos – there’s a reason we recommend it in all of our vlogging blogs. A RØDE VideoMic will suit your purposes fantastically. For more audio control you can use the Sony XLR-K3M XLR adaptor kit, pictured above, with your choice of XLR microphone from shotgun mics to radio lavalier kits ideal for interviews.
– A fast, large-capacity SD card. You might be able to save some money here, as the ZV-E10 isn’t able to take advantage of UHS-II cards, a UHS-I SD card will do fine. Something from the SanDisk Extreme Pro range will suit you fine – the higher its capacity, the better.
– A stable tripod, ideally one with a head geared for video. Manfrotto, Vanguard, Camlink and Velbon all make great dedicated video tripods with smooth panning heads.
– Monitoring headphones to check your audio.
– A video light. Look at lights from Rotolight for a good self-contained system.
The Sony ZV-E10 isn’t perfect
The grip is way too small to use handheld with a big lens, as it’s too unwieldy to hold the lens while using the rear display to frame shots. We would recommend using a tripod, as well as for some long-exposure images. There’s no mode dial on the top; instead you’ll set the capture mode via the menu. You do get a shutter release at the top of the handgrip. The Sony ZV-E10 has a built-in electronic viewfinder for framing shots so if you need a camera with a viewfinder try the Sony A6100 or A6400. If you are looking for a run-and-gun video camera for quick pans then this might be the worst thing about the camera from a video point-of-view, and while it won’t affect many studio or static shooters, run-and-gun camera operators might not be ready for its jelly effect. The Sony ZV-E10’s 4K capture caps out at 25/30 fps, so if you want to slow down your footage without compromising on resolution, you’ll need to look elsewhere.
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