Much of the initial concern about the EOS 5D Mark IV's video has been about its substantial 1.64x crop (relative to the full width of the sensor, 1.74x compared to the 3:2 region) and its use of the inefficient Motion JPEG compression system (which limits the ability to use SD cards with any dependability).
However, upon shooting with the camera we found it to have significant rolling shutter. We've demonstrated the effect alongside the EOS-1D X Mark II, which reads out its sensor fast enough to exhibit pretty low levels of rolling shutter, and the Sony a6300, which shows a relatively high level of rolling shutter at 24p, albeit less so at 30p.Detailed demonstration
Now we're allowed to show footage from the camera, we can show more clearly the difference between the EOS-1D X II, which showed very low levels of rolling shutter in our real world videography, and the EOS 5D Mark IV's footage, which we believe you'll need to be much more careful with. Particularly when it comes to using 4K video to shoot action at high frame rates, either for video or for 4K frame grabs.
Fast panEOS-1D X Mark II (60p) EOS 5D Mark IV (30p)
As before, these grabs were taken from a relatively fast pan with both cameras attached by an arm so that they're being moved at exactly the same speed. Unlike before, these were shot at 1/1000th of a second shutter speed, so reflect the behavior when trying to shoot for frame grabbing.
Slow panEOS-1D X Mark II (60p) EOS 5D Mark IV (30p)
These grabs come from a slower pan, much more like the kind you might wish to include in your own shooting. The 1D X II displays so little rolling shutter as to not be an issue at all at these speeds, while the 5D Mark IV continues to exhibit enough rolling shutter as to render a very odd looking frame grab.What does this mean?
While rolling shutter isn't a huge deal at 1080p on the 5D Mark IV, 4K footage risks having panned or moving objects skewed diagonally across the frame and, potentially worse, a 'jello effect' to hand-held video. The jello effect can particularly show up in footage shot while walking, which isn't an unreasonable use-case for this camera for, say, wedding cinematographers.
The 1D X II shows far better performance in this regard, and the ramifications extend beyond video shooting. We were - and continue to be - quite excited at the prospect of using the 1D X II for, effectively, 60 fps action shooting with (Dual Pixel) AF, thanks to Canon's excellent 4K Frame Grab feature and very capable video AF. While you can do the same, albeit at 30 fps, with the 5D Mark IV, the reality is that the very fast action shots, or fast-moving subjects, that would benefit from the high frame rate of capture are the ones that will be most adversely affected by the decreased rolling shutter performance.
Ultimately, if you're careful with the way you move the camera, this rolling shutter effect may not be too apparent; however, there will be scenarios where it becomes distracting, at which point you may have better luck rolling the 5D Mark IV back to 1080p.
Recently we have seen several camera bags that look like anything but camera bags, and Wandrd's new Prvke 21 is the latest example for this trend. With its roll-top and rugged style it looks like a cross between a bike messenger bag and a mountaineering backpack. The Prvke 21 is made from ballistic nylon, water-resistant Tarpaulin and rugged YKK zippers, the combination of which should keep all your gear dry and safe. Magnetic loops and large buckles allow for easy conversion from backpack to tote.
The Prvke 21's design has been based on feedback from users of the original Prvke bag, many of whom were looking for a smaller version. The interior is customizable and its 21 liter capacity, that can be expanded to 25 liters, makes it a good option for the commute bag, for the occasional hike or even a quick weekend trip.
That said, photographers will probably be most interested in the Prvke 21’s removable camera cube. It holds a mirrorless camera with up to four lenses or a full-frame DSLR body plus two lenses. Integrated straps allow for "hands-free" access to your camera gear and a camera sling keeps your camera ready without having it dangling from your neck. In addition the bag comes with a hidden passport pocket, front pockets for the small stuff, a padded laptop-sleeve and various other small pockets, for keys, mobile phone and memory cards.
If you like the look of the bag you can now secure one by pledging $149 for the early-bird option on the Prvke 21's Kickstarter page. Delivery is planned by Christmas 2016. More information can also be found on the Wandrd website.Key specifications:
- 21 liters capacity (expandable to 25)
- 2.8 lbs / 1.3kg empty weight
- 17 × 11 × 6.5 inches / 43 x 28 x 16.5 cm
- $149 early-bird price on Kickstarter
Looking for a sleek, minimalist display for your vintage camera collection? LaudWorks, a purveyor of DIY project tools, has launched a small accessory called Hangie for easily mounting a camera on a wall. The 3D-printed mount is offered in both steel and plastic versions with multiple color options, and is nearly invisible when used, giving the impression that the camera is floating on the wall.
The Hangie mount is simple to install: first, attach the mount to a wall using two screws, then secure the camera using a tripod mount screw. The metal version of Hangie is made from bronze-infused stainless steel and is designed for heavier cameras; LaudWorks says it tested this version with a Canon EOS 7D and a EF-S 17-55mm lens attachment (1500g / 3.3lb). The plastic version, meanwhile, is made from white nylon plastic and is made for 'small, lightweight cameras.'
As soon as our Canon EOS 5D IV test unit arrived we put it straight to work, both out and about in Seattle and in the studio. The EOS 5D IV has just been added to our studio test scene comparison tool, so you can easily compare it to its peers. Our dynamic range test results will be following shortly.
For now, check out how the EOS 5D IV compares to its peers and competitors in our studio by clicking on the link below.
*Raw images have been processed with an early beta build of Adobe Camera Raw. Image quality may not represent the final version of the plugin, but is likely to be close.
Matthew Morgan, founder of the Afropunk festival, grew up feeling culturally isolated in a mostly white environment. Taking its name from the 2003 film by the same name, Afropunk is a free outdoor festival in Brooklyn. Now the black punk festival has grown from 100 visitors to about 60,000, including performances by George Clinton, Laura Mvula and Tyler, the CreatorContinue reading...
Elton John shares his photography collection, Tracey Emin gets into bed with William Blake and David Shrigley gives everyone a big thumb’s-up
- Autumn culture: Dance
Neon might once have been considered a quintessentially American medium but the British artists who have worked with it are numerous. Martin Creed, Tracey Emin, Cerith Wyn Evans and Eddie Peake are just some of the homebred talents to feature alongside international names in this major survey of neon art in, where else, Blackpool. Home to the world-famous Illuminations, first switched on in September 1879, the city has played a central role in the UK history of neon, as the Grundy seeks to prove with an exhibition that includes rare 1930s designs for the biggest free light show on earth.
• 1 September to 7 January 2017, Grundy Art Gallery, Blackpool.
For 25 years, Susanne von Meiss has been collecting photography with the special focus on ‘allure’ – a personal compilation that transcends individual genres, styles and artists from the 1920s to the presentContinue reading...
We've only had the 5D Mark IV for a couple days, but that hasn't stopped us from taking it out for a bit of shooting. Take a look at some sample images from Canon's latest full-frame DSLR.
*Raw conversions have been performed with an early beta build of Adobe Camera Raw. Image quality may not represent the final version of the plugin, but is likely to be close.
From a prancing Pep Guardiola to a soaked Jamie Vardy, here’s our pick of the best photography from the weekend’s matches in England’s top flightContinue reading...
A competitor takes part in the World Bog Snorkelling Championships in Waen Rhydd peat bog at Llanwrtyd Wells, south Wales. Entrants must negotiate two lengths of a 60-yard trench through the peat bog in the quickest possible time without using any conventional swimming strokesContinue reading...
IK prize-winning system matches images from the 24/7 news cycle with centuries-old artworks and presents them online
Seated against a deep red backdrop, gazing intently at hand-held mirrors, two eunuchs in sparkling saris inspect their appearance before Raksha Bandhan celebrations in the red light district of Mumbai.
The photograph from the Reuters news agency is an arresting contemporary scene, but a new Tate Britain project is aiming to inspire deeper reflections with images from its own collection of paintings.
The Guardian’s picture editors bring you a selection of photo highlights from around the world, including a carnival in London, survivors of disaster in Italy and a kaleidoscopic Grace JonesContinue reading...
It's been more than four years since the launch of the Canon EOS 5D Mark III, and just ahead of this year's Photokina trade show in Cologne we finally have a successor: the EOS 5D Mark IV.
While externally similar to the 5D III, and the higher-resolution 5DS/5DS R, the new EOS 5D Mark IV offers some significant internal improvements. We got our hands on a pre-production camera recently, and in this slideshow we'll be giving you a quick overview of the key features.
The EOS 5D Mark IV will come in three kits: body only ($3499), with the 24-70 IS USM lens ($4399) or with the 24-105 IS II USM lens ($4599).Canon EOS 5D IV: What you need to know
The Canon EOS 5D Mark IV offers a roughly 30% increase in pixel count over its predecessor, and sits midway in terms of resolution between the EOS 5D III and the EOS 5DS/R, currently 'best in class' at 50MP. Nikon’s current 'resolution' flagship, the 36MP D810, offers a few more pixels but practically speaking the difference between 30MP and 36MP is likely to be pretty much academic.
The 5D Mark IV’s native ISO sensitivity span extends a touch higher than that of the EOS 5D III, covering ISO 100-32000. Its extended ISO sensitivity span, however, is identical to that of its predecessor, at 50-102400. Both cameras offer greater nominal low light sensitivity than the Nikon D810, which is capped at ISO 12800 natively, and can be extended to 51200.Canon EOS 5D IV: What you need to know
New (and currently exclusive) to the EOS 5D IV is what Canon is calling ‘Dual Pixel Raw’. This mode uses the sensor’s Dual Pixel photo sites (more on that below) to effectively create two 30MP files from a single exposure. The resulting file can be adjusted in Canon’s Digital Photo Professional Software to slightly shift the point of critical focus.
The technology behind this feature is complex – it isn’t light field imagery, although the user experience is similar – and we’ll be digging into it more when we receive a fully reviewable camera, but for now we'd caution you not get your hopes up too high with respect to 'image microadjustment': the degree of re-focusability is miniscule, and this feature isn't a replacement for proper AF microadjustment of your lenses.Canon EOS 5D IV: What you need to know
Something old, something new, something borrowed… the EOS 5D Mark IV’s AF system is very closely related to that of the EOS 5D III, which itself inherited the 61-point AF array from the (then) flagship EOS-1D X. Vertical coverage has been expanded up to 24% though, and all points focus down to F8 with proper lens/teleconverter combos. Like the 5DS/R and 1D X series, there's now a completely 'auto' AF point selection mode in AI Servo, which can be made to prioritize faces, thanks to the addition of Canon’s iTR (Intelligent Tracking and Recognition) system. iTR incorporates data from a 150,000-pixel metering sensor, to assist subject recognition and tracking.
In theory this should make the 5D IV better at identifying and maintaining focus on moving subjects, but from our (admittedly limited) use so far it seems to offer roughly the same performance as the EOS 5DS/R. Which is to say: not bad, but not great. The EOS 5D IV might prove somewhat more useful for fast action photographers than its predecessor, but when it comes to tracking, the Nikon D810 probably still offers the most capable autofocus system in this class. Obviously though, this is something we'll be testing as soon as possible.Canon EOS 5D IV: What you need to know
One key area where the EOS 5D IV outshines pretty much all DSLRs today is autofocus in live view and video. The Mark IV’s Dual Pixel AF system brings rapid and consistently reliable focus in both modes, and unlike the flagship EOS-1D X II, the 5D IV can offer continuous tracking in live view mode for stills, in addition to the incredible capable movie servo AF during video recording. Based on the time we've spent with preproduction Mark IV's, we are very impressed with just how responsive the Dual Pixel system is - take a look at how easy it is to select subjects and track them reliably in our video here.
That sort of subject tracking outclasses the camera's own viewfinder AF in some ways, not to mention the far greater frame coverage and accuracy of on-sensor AF. Frankly, Dual Pixel AF is so good we'd often prefer it over viewfinder AF (for anything but sports), but alas using a DSLR at arm's length isn't very practical.
By comparison, the contrast-detection live view and video AF system of most DSLRs, like the 5D III and all Nikon offerings, is slow, prone to hunting, and cannot offer any kind of reliable continuous focusing.Canon EOS 5D IV: What you need to know
As far as handling is concerned, the EOS 5D IV offers a broadly similar experience to its predecessor. This is simple common sense on Canon’s part (minus the fact that all top shelf buttons have had their associated dials reversed), but the new camera isn’t just a re-heated version of the same old 5D-series ergonomics. For one thing, the 5D IV features a touch-sensitive, 3.2" rear screen which, unlike the EOS-1D X II, is tightly incorporated into all key areas of the camera’s feature set.
From touching to focus in live view and video to quickly tapping to zoom into images after a shoot, the EOS 5D IV’s touchscreen makes a real - and very positive - difference to the camera’s handling compared to both the EOS 5D III and also competitive cameras like the Nikon D810 and Sony a7R II.Canon EOS 5D IV: What you need to know
In classic Canon style, for all of the brand new features that the EOS 5D IV brings to the table, it inherits a few, too. One of the more welcome additions is an iteration on the EOS 7D II's AF area selection toggle, just below and to the right of to the AF joystick on the rear of the camera. As with the 7D II, this button can be customized to fulfill one of various other functions, depending on the preferences of the photographer, albeit limited only to a set of options Canon thinks you should assign to it.Canon EOS 5D IV: What you need to know
Hiding inside that comfy grip are dual slots for SD and CompactFlash media. As usual, media can be configured so that when two cards are installed, one acts as overflow storage, backup storage, or can be dedicated to either stills or video. Bear in mind though that the SD card slot is limited to UHS-I speeds (so you can't use it to record 4K video).
That molding line on the EOS 5D Mark II's pentaprism might look like the camera boasts a built-in flash, but it doesn't. The very top of the pentaprism is polycarbonate, to accommodate the requirements of built-in WiFi and GPS. The EOS 5D IV is fully weather-sealed, and when paired with one of Canon's L-series lenses, it should withstand shooting in tough conditions.Canon EOS 5D IV: What you need to know
There are plenty of holes in the EOS 5D IV, but fortunately they're physical, not figurative. As well as microphone and headphone monitoring sockets you'll also find HDMI out, USB 3.0 and a conventional flash sync socket. Just under our hand model's thumb is the port for a wired remote shutter release.
Speaking of video, the EOS 5D Mark IV becomes only Canon’s third DSLR to offer 4K video capture, in addition to a solid HD video feature set. As we’ve come to expect from 4K-capable DSLRs there is a crop factor at play in 4K video mode, though, and it's fairly aggressive. At around 1.74x - it's more aggressive than the Super 35mm format - which means that, at best, the field-of-view and noise performance will still be worse than some APS-C offerings like the Sony a6300. There's also significant rolling shutter, more so than the 1D X II.Canon EOS 5D IV: What you need to know
Neither the EOS 5D III nor Nikon D810 offer 4K, of course, and the EOS 5D IV’s combination of high-resolution video, full-time touchscreen interface and Dual Pixel AF make it one of the most capable DSLRs for video at this point in time. Which makes the lack of proper video tools - like zebras, peaking, or Log gamma modes - all the more frustrating.
Clean HDMI out is possible in HD, but not for 4K. Like the EOS-1D X Mark II, 4K recording is only possible in the highly inefficient Motion JPEG format, but according to Canon, this is deliberate, as it offers easy stills extraction from a 4K timeline - essentially enabling 30 fps 8.8MP JPEG capture (assuming favorable shooting conditions, considering the rolling shutter). Still, the option for a more efficient codec for video use would have been useful.
The Canon EOS 5D Mark II uses the very familiar LP-E6N battery, rated at 900 shots per charge (CIPA).Canon EOS 5D IV: What you need to know
A new dedicated grip, known as the BG-E20 ($349), doubles your battery life and offers additional controls for shooting in the portrait orientation.Canon EOS 5D IV: What you need to know
The EOS 5D IV is launched alongside a brand new 24-105mm F4 IS L II USM kit zoom, and a Mark III version of the 16-35mm F2.8 (pictured above). These lenses retail for $1099 and $2199 respectively, and both are scheduled for October availability.Canon EOS 5D IV: What you need to know
Compared to its predecessor, the EOS 5D IV is improved in virtually every way. Compared to the EOS 5DS/R, while the Mark IV can’t quite match their resolving power, it outpaces them in terms of speed, and of course a much richer video feature set.
Nikon’s D810 is the EOS 5D Mark IV’s most obvious competitor, but although it’s been on the market for quite some time, it’s still very competitive in several areas. Where the EOS 5D IV scores over the D810 is video specification (obviously) and some aspects of handling. Thanks to Dual Pixel AF, the EOS 5D IV much more fun to use in video and live view modes, but the addition of a touchscreen makes some operations – like focus in live view and image review – quicker and easier than they are with the D810’s more traditional button-based ergonomics.
Let us know what you think of Canon’s new EOS 5D Mark IV in the comments.
A new music evolved in east London in 2002 – the sound of an angry but optimistic black Britain. A new book looks at grime’s evolution, and its new wave
“Fourteen years ago, from the bowels of Bow E3, the voice of a generation emerged, blinking furiously under the glare of Canary Wharf’s aggressively gleaming paean to financial power. It was dark, it was angry, it was loud, it was unapologetic. It was innately provocative, it was fiercely independent. It was the brittle sound of disillusionment, resentment and despair, but also the voice of hope. It was grime.”
So begins This Is Grime, a new book by i-D magazine music editor and grime fanatic Hattie Collins, with original photography by Olivia Rose. The book is an oral and visual history of grime music: the striking black-and-white photography is interspersed with quotes from all the major players of the early scene – Dizzee Rascal, Wiley, Kano, Lethal Bizzle – talking about the origins of the movement, as well as the newer generation – Stormzy, Little Simz, Novelist – on how it’s evolving.Continue reading...
For last week’s photography assignment in the Observer New Review we asked you to share your photos on the theme of dance via GuardianWitness. Here’s a selection of our favourites
- Share your photos on this week’s theme ‘voyage’ by clicking the button below
We’re now running a regular weekly photography assignment in the Observer New Review and wherever you are in the world, this week we’d like to see your pictures on the theme ‘voyage.’
We’re now running a regular weekly photography assignment in the Observer New Review and the next theme is ‘voyage.’ Share your photos of what voyage means to you – and tell us about your image in the description box.
The closing date is Thursday 1 September at 10 am. We’ll publish our favourites in The New Review on Sunday 4 September and in a gallery on the Guardian site.Continue reading...
Time magazine photographer Joakim Eskildsen was commissioned to document life below the poverty line. What he discovered was shocking
“People are disillusioned with the fact that it is so difficult to get by today. They said there is no American dream any more. This, they said, was the American reality.” This was what the Danish-born photographer Joakim Eskildsen found, and in turn highlighted, when he was commissioned by Time magazine to photograph Americans living below the poverty line.Continue reading...
The Canon EOS M10 is the most beginner-friendly camera of that manufacturer's mirrorless family, doing away with many physical controls and embracing touchscreen functionality. Its 18MP APS-C sensor, built-in Wi-Fi and compact size help make it a compelling go-everywhere camera, especially when you add Canon's svelte 22m F2 to the mix.
We've had it on hand for strolls through the neighborhood, shows in dim bars and in the stands watching some world-class tennis. Take a look at the samples we've gathered so far.
Maybe it's unreasonably hot where you live, like it is here. Maybe you just smashed your phone screen on a sidewalk (and you KNEW you should have paid for that Apple Care). It's none of our business why, but if your troubled mind needs soothing, we found just the thing for it: this video of the Northern Lights shot from a drone soaring over Iceland.
The footage comes from OZZO Photography and a Sony a7S II with Sigma 20mm F1.4 strapped to a DJI Matrice 600 (that's a $4600 pro-grade drone, for those keeping score at home). It all adds up to one sweet, nerve-calming minute and a half.
From underwater military tanks to Spanish wildfires, the best photography in news, culture and sport from around the world this weekContinue reading...
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