The EOS R3 is Canon's flagship mirrorless camera. Its pro-level features include a stacked CMOS sensor with Dual Pixel autofocus, fully electronic shutter with 30 fps shooting, eye-controlled autofocus, subject recognition, and an optical viewfinder simulation mode. On the video side, it captures 4K footage at up to 120p, oversampled 4K at up to 60p, and can capture 6K Raw video internally.
In this video, Canon Explorer of Light Larry Chen uses the EOS R3 to shoot the Velocity Invitational at Laguna Seca Raceway in California. Go behind the scenes to see what it takes to shoot some of the most valuable race cars in the world.
Canon EOS R3 sample gallery from the Velocity Invitational by Larry Chen
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What's the car at 2:25? Practically sitting in the grass. 30s vintage, silver, split rear window, fully faired wheel cut outs (not getting the description right here.)
Interesting that a reverse search brings up boats. My memory is not bringing this car up but it will come to me later. First guess was Delahaye.. Hispano Suiza and even some bently/rolls recreation. But despite seeing this car before, my memory fails.
That silver car is "Aquarius", a full custom influenced by the 1938 Delahaye 165 Cabriole. It was created by Rick Dore Kustoms for James Hetfield, lead singer and guitarist of the rock band Metallica. It currently resides in the collection of the Peterson Automotive Museum. https://kustomrama.com/wiki/James_Hetfield%27s_Aquarius
Some great shots and great technique being displayed here. In some cases I do think squeezing the aperture a bit further would have improved the shot, e.g. the two girls with one just being a tad OOF. But the panning shots at 1/30th though...
Lovely shots - the stabilization has done good work for those panning shots - allowing rotational blur in the wheels, while keeping other stuff nice and sharp
Awesome shots. For me though the 2 girls at 50mm F1.2 shows that it's such a narrow depth of field that only 1 girl is in crisp focus. So I've convinced myself I don't need a F1.2 and my F1.8 is actually better...... sorry Canon!
You can stop down to f1.8 for your pictures and get even sharper pictures, but your autofocus has a working aperture of f1.2. The difference is more than 1 stop. But I guess a f2.8 would be enough for you, too.
Love the photos, because I love the cars. My favourites, for different reasons the Merc 300 SLR, just because, the Lotus in JPS livery which always looked so cool and Hunts McLaren, which, as a mad keen McLaren fan, I had a poster of on my wall as a kid. Great to see them out and about. The only pity is I didn't see any McLaren CANAM cars.
The eye controlled AF is just stellar and seems like magic once you use it. It seems almost like mind control, since you are using your mind to move your eyes.
Honestly once you use it, it's hard to go back to anything else.
These are some great images. I know that is an ad for the camera, but the photographer did great too. Side note : There is one image of the eyes of an old guy in a bright white/pale blue BELL helmet. Shot with an 85mm at f/1.2. This is a perfect example that if you have an 1.2 lens you are not obliged to shoot wide open. It looks weird with 1 eye in such a sharp focus and the other so blurred.
slide #7 also illustrates shallow depth-of-field. Viewed at 100%, the face on the right is well focused but the left-side face is noticeably out of focus.
Native first party EF lens adaption is Canon's ace in the hole for RF. You can buy the newest body and still save a fortune by using old EF glass. Other brands have also risen to prominence by initial reliance on adapted EF glass.
That had to be a spectacular event, photos taken with short shutter speeds are all nice and sharp, however those pannings not as much, as almost all of it can be easily classified as unsharp, Taking photos of a fast subject with slow shutter is mostly about luck, advance image stabilization, and also lot of hit and miss bits in the never ending learning process.
@GinoSVK: It doesn’t matter how good you are at panning shots or now many fps you’re shooting, even keepers won’t be pixel-perfect sharp every time. It’s just not possible at anything short of 1/30th of a second. It might look good at 1200px or even 2400px, but at full resolution, you just aren’t going to get pixel-perfect pans.
Source: Six years of shooting IndyCar and IMSA, with thousands of panning shots captured alongside full-time professional motorsports photographers.
@SteveAnderson: You’re not going to get many drawn-out pans at 1/125th though. You’ll need no faster than 1/60th, even on cars going incredibly fast. Most of Chen’s were ~1/30th, which is where you usually want to start for the really smooth pans. If you work at it though, it's possible to get fairly sharp pans at 1/15th.
Gino it’s not only about luck. There is definitely a panning technique that works better than random luck. There is some luck and probabilities and statistics involved but some are definitely better at panning than others.. technique and lots and lots of practice.
I used 1/50 on roller derby players. I am sure i got a lot of bad shots, but once I got the timing down it was alright. Also I think the tamron 70-200 vr or oc is really good at stabilization. That helped a lot. I done wider angle shots with other WA lenses and it wasn't so great.
Wide angle panning is very wierd. Some odd physics going on. I panned a rally race in Japan with a 10-18mm apsc and the sharp focus was like a tilt-shift. Just a tiny sliver of the car is sharp, even though its f10.
Trick is with panning is to position yourself so you are facing the position you will shoot the car in as it moves past you, then twist your body into the direction the car is coming from. As you pan your body is unwinding and fluid, continue panning past the shot to prevent the last shot suffering from your body jerking the camera as you stop, like a golf swing.
I have shot a fair amount of these types of images. You need luck for sure! However, a perfect balance of shutter speed, as others have pointed out usually 1/60 or less and a perfect panning motion speed are required to make sure you get the subject in focus and swish the background.
For panning, you go left to right or opposite direction and make sure there is zero up and down movement. If the lens is heavy, a monopod comes in really handy. Lots of practice is needed. I started doing this in the film days and did not see the results until much later. At least with digital you know instantly whether you have it or not.
One cannot deny the quality and range of features of this setup. On the other hand the kit he had seems very heavy. I would not like to lug it around for a day.
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