I shoot a Canon EOS 7D. As well as some Canon lenses, I also own some Sigma lenses. I acquired an ƒ/2.8 70–200mm Sigma a little while ago.
Now, something about using Sigma lenses on Canon bodies bugs me. See if you can spot it in this screenshot from Aperture (bear in mind the image was shot using the 70–200mm):
See the lens model at the bottom? It seems the Canon “brain” sees the Sigma lens, but identifies it as an ƒ/2.8 50–150mm plus a 1.4x extender! Do the maths, and you’ll see this odd combination actually works out as a 70–210mm. It’s not just this lens, either. All my Sigma lenses, both EF and EF-S compatible, are reported incorrectly in the EXIF from the camera. Weird but true.
It would be really nice if there was a way to correct this, either in the camera or within Aperture. I haven’t found a way yet.
World goes bonkers!
Anyone with even just a passing interest in digital photography can’t have failed to spot the rumour mills and industry monitors grinding into life this past few weeks. New DSLRs are very much in the news, if you care about such things.
Canon announced a new professional flagship model, the EOS-1D X, back in October 2011. Aimed at replacing the current top-flight DSLR models they produce, it’s slated for release sometime in 2012. I won’t bore you with the technical details. If they interest you, they’re on the press release and everywhere else!
Nikon, meanwhile, has just unveiled their D3 series replacement, the FX-format D4. I can’t immediately find official release dates, but again, if you are sufficiently interested in the technical stuff, it’s in the press release and everywhere else!
These press releases are timed to hit the CES 2012 shindig in Las Vegas, Nevada, US. The Consumer & Electronics Show is one of the biggest international gadget-fests going, and everyone who is anyone in the technology world will be there. Except Apple, but there you go. That’s an entirely other story.
So why do I bring you this earth-shattering news? Am I being sucked into the technolust vortex? Will Snaptophobic end up as just another technoblog, regurgitating press releases about every new gadget or software without even pausing to breathe?
No. Not a chance.
If I am completely honest I have never been free of the vortex, but I find the effort needed to get incredibly excited about new gear has waned in proportion with my age and bank balance! Yes, I am interested in it, but only in a peripheral kind of way. Being a Canonista, the new EOS-1D X is interesting, but it’s so far beyond my budget that I can effectively ignore it. It’s a camera that may be of interest to me if I were a professional photographer and it was to be my key tool, but as I am not a professional and I already have a camera that’s more than adequate for my needs, I won’t be letting myself be sucked too deeply into the vortex.
With Nikon’s announcement, there will now be an inevitable increase in the Cankon/Niknon fanbois crowing over features that trump their arch nemesis. This is partly why I haven’t bothered you with the technical features of each new camera, because they are really irrelevant to you and me. The kind of people who will find that sort of information at all of real interest are those who are not—in my opinion, I hasten to add—real photographers.
So, while the baying over megapixel counts, burst frame rates, astronomical ISO levels, focus points and other geeky stuff begins to inexorably grow in volume, remember this: it’s not about the gear.
The camera is just a tool, a means to an end. Some of my best images were taken using a 35mm film camera that cost £20. Learn to use the tool you have, and make great pictures. If you can afford one of the new shinies, or can justify one for your work, go to it with my blessings. If you just want to leave it in idiot mode, slung round your neck as techo-jewellery … words fail me.
No, really, they do.
I’ve been keen to try out the HD video features of my EOS 7D on a model railway for a while. Yesterday I had the opportunity on a visit to the S7 South East England Area Group’s new venue. For the first time outside an exhibition, the group is able to erect their massive layout Croscombe, and while it is far from complete it makes an impressive sight.
This video was mainly a way to prove to myself the camera can actually do what I want it to do. I think it managed quite well. With some more thought and a better plan, the next session might well produce a better film!
Generally, the fastest way to get images from the Canon EOS 7D is a case of popping the CF card out of the camera and into a reader attached to my Mac, then getting Aperture to copy the files into its library. If most of my photography has been out in the field it’s the only sensible method of downloading, especially if there are several cards involved.
Sometimes I find myself working in a studio environment, where seeing the results without recourse to pixel-peeping on the camera’s LCD would be beneficial. If I’m doing some model or macro work, where focus can be quite critical, or if I’ve got a bunch of products I need to shoot where the lighting and framing is all but identical, tethered or remote shooting — where the camera is connected to and controlled by software on a computer — is the way to go.
Canon ships a bunch of software* with their DSLRs, including a utility that lets you set up and control the camera from the computer screen. Combine this with the camera’s Live View feature, where the viewfinder mirror is locked up so you see exactly what the sensor is seeing, and you can perform critical focus and framing while seeing everything as large as your computer’s screen will allow.
Canon’s software hasn’t really been designed with a third party application in mind. I’ve used Digital Photo Professional (Canon’s RAW image management and editing suite) in the past, but let’s just say I was only too happy to move to something better when I could.
The ‘Studio’ setup. Black card forms the backdrop, with battery LED lamps to fill in, helped by a reflector on the right which is bouncing the desk lamp light into the scene.
I’ve been an Aperture user for some years now. Apple’s flagship image management and editing software has always supported camera tethering of some sort, but my previous DSLR was not supported. My current camera, the EOS 7D, is supported by Aperture 3. Keen to cut out the comprehensive but rather clumsy Canon control software, I tried it out.
With the camera on and connected, choose Tether > Start Session… to begin using Aperture’s tethering controls.
You are asked to choose some basic settings before you begin…
…and here’s your control panel. A button to capture the image, and a button to stop the session. Any camera settings must be performed on the camera itself. Aperture tethering is simply a way of downloading the images directly from the camera.
It was, frankly, a bit of a disappointment. True, the 7D can be linked to Aperture. But that’s about it. You have some control over the EXIF or IPTC data embedded with the image, there’s a button that lets you fire the camera’s shutter and it does download the resulting image directly into your Aperture project, but for everything else you have to work on the camera itself. There’s not even a way to preview the shot, or activate the autofocus, or change the other parameters on the camera, as far as I can tell. Compare this with the complete remote control of the camera—save zooming in and out or moving the tripod—which is available if you use the EOS Utility.
The task, then, is to work with the Canon software to set up and control the camera, but make sure the images are downloaded into Aperture, neatly sidestepping the rather clunky Digital Photo Professional. Ideally, this should happen automatically, so I can concentrate on the work at hand, but still be able to review images if I need to.
Step forward a handy little free script, built using Apple’s Automator scripting package. Called Aperture Hot Folder, it’s a tiny application that monitors the folder where the EOS Utility is downloading images from your camera, and tells Aperture to import them. Easy.
Aperture Hot Folder is free, which is even better. (It’s for Mac OS X only. I’m sure there are similar things available for Windows and Linux, and Adobe Lightroom, too.)
So, here’s my workflow. Firstly, I set up the camera and connect it to the Mac with the USB cable. Once Aperture is running, and I’ve set up a project for the shots I’m taking, I launch Aperture Hot Folder and step through the instruction screens.
The first screen explains what the script does, and what to do next.
Select a folder on the hard drive to watch and click Choose.
Aperture Hot Folder then asks you to choose an Aperture project to which it should import the images that arrive in the watched folder selected in the previous step. If your Aperture library is large, with lots of projects, this list will be very long!
Next, you’re asked whether the imported images should be referenced (Aperture-speak for leaving them where they are in the hard drive) or imported into Aperture’s managed library. I choose the latter because I like to work with a managed library and not worry about where originals are.
Finally, a confirmation screen and instructions on how to stop the script running when you’re done.
With the camera connected, switched on and mode dial set to manual, the next application in the sequence is EOS Utility so we can control the camera.
EOS Utility itself initially shows a main screen where you can choose various functions. It’s a launch pad that gets you into a variety of software for downloading images from the camera, setting the downloads folder and all that kind of thing.
I’m not going into detail with this control panel. As you can see, it’s pretty comprehensive, with plenty of data showing how the camera is set up, battery condition and other information. The round button near the top right is the shutter release button. Before I start, I click the tiny folder icon below the shutter to select the destination folder being watched by Aperture Hot Folder.
From the control panel I can literally control every parameter of the camera, short of physically moving it on the tripod to frame my subjects. With the camera set to manual (M), I can set shutter speed, aperture, ISO, colour balance, file format, etc, by clicking on the relevant element and using the left and right cursor keys to change them incrementally. Remote control also works for aperture and shutter priority, but for full control manual is preferred.
From the menu buttons below the data panel I can pop up the camera’s built-in flash (where I can also control flash exposure levels) and, with the Live View shoot… button, crucially kicking the 7D into Live View shooting mode.
Once in Live View mode, rather than peering at the image on the camera’s LCD, I see it in a larger window on my computer screen. I see exactly what the sensor is seeing. In this new window, I can turn on grid overlays, move the focus block about and set the colour balance to my liking. I can even turn on selective focus and exposure points. Almost every part of the camera’s operation can be controlled from my computer. If the lens is set to autofocus, pressing the shutter release button focuses the lens before the shot is taken—though this is a little hit and miss. If the focus misfires, the resulting shot will still be taken, which is why I prefer to work with manual focus for tethered shooting.
For critical focus, I click the zoom magnifier below the main image or double-click the white rectangle in the image. This area can be dragged around the screen, and once clicked opens an enlargement window zoomed into the defined area.
I can drag the image about for a better view, and zoom to 200% to allow really fine manual focus if desired. Closing this window returns me to the main window, although most of the settings are available in both windows. If I have chosen a small aperture, I can also turn on depth of field preview to see how it will appear in the final shot. There is also a mode where the Remote Live View Window will simulate the exposure settings to give me a better feel for the final image.
Depth of Field preview off. The lens aperture is wide open, allowing critical focus.
Depth of Field preview on. This shows me how the image will appear with the aperture set to ƒ/16. The software brightens the image artificially, unlike when you squint through the viewfinder when pressing the DoF preview button on the camera itself!
When I’m happy, I can click the faux shutter button on the control panel, or the real thing on the camera or remote release, and my image is captured and downloaded to the watched folder. I can, of course, check it for focus and colour balance without leaving the Canon software suite if I wish. I’m going to do my reviewing in Aperture, so I will have to wait for a few seconds.
EOS Utility downloads the captured image from the camera to the watched folder.
The original downloaded images remain in the watched folder, so they’ve been copied into Aperture’s library rather than moved.
The captured image appears in Aperture where I can review and work on it.
Once the image has been downloaded to the watched folder, Aperture Hot Folder notices the new arrival and pokes Aperture in the ribs. The new image is imported as a copy to Aperture—leaving the original capture in the hot folder for later disposal, just as when downloading from a CF card—and after a short pause I can study the image in greater detail in my preferred image management software.
While Aperture Hot Folder and Aperture are sorting themselves out, I can carry on and capture further images. Each will be dutifully imported into Aperture while I work. If not seamless, at least it lets me avoid the step of importing the images to Aperture later. Theoretically, I could be capturing the shots on my laptop, controlling the camera settings, while the images are downloaded and then perhaps copied across a network to an assistant working in Aperture who can then process the shots. The potential for a busy studio workflow is there.
I should also add that the EOS Utility and Remote Live View Window let you record video as well as stills. Ideal for the director who simply must see everything as it’s being filmed. I plan to use this feature soon for a short video I have in mind.
*The full list of software Canon provides is Digital Photo Professional (management and RAW editing), EOS Utility (download and camera control), Picture Style Editor (allows the user to edit and create new picture styles which can be uploaded to the camera), PhotoStitch (for creating panoramic images for multiple shots) and PhotoStitch Viewer (to view the resulting panoramas), and CameraWindow (I have no idea what this is for: when you launch it, it launches EOS Utility for you…).