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For those of you who have read my previous articles about my on-going personal bugbear with perfectly good hardware being rendered obsolete by software updates, I thought I’d post an update about how it’s going.
If you didn’t bother (classic TLDR?) this is what it’s all about.  

I’m working on portrait projects in a pop-up studio with non-professional models.  I set the studio up as and when needed, and then take it down.  To cut down on potential trip hazards, (it happens – as an assistant many years ago I nearly wrecked two lighting heads by not watching where I put my feet) everything is wireless.  Battery strobes, remote triggers…you get the idea.   (If anything is plugged in, it is by the wall and out of the way.)

One of the requirements is to send the portraits to a device so that I can review with the sitter.  It’s proved to be invaluable.  My display of choice is an obsolete iPad2  - because that’s what I had sitting in the desk drawer not doing much. Turns out that it’s also a good size to fit in the camera bag.  It runs a software app – Shuttersnitch.  Now I’m not on commission or getting any kickbacks, but I can recommend this as my app of choice for transfer and display of files.  It just works.  Check it out – you get a week to see if it works before the subscription kicks in.

To date I’m glad to report that my set up (as detailed in previous articles) is working fine – in fact it’s been rock solid, except for one thing that’s been niggling – the speed of the transfer.
I have the Canon R5 FTP transfer set up for power saving, so I know that the connection will be dropped and raised as needed, but even taking that into consideration, burst shots are sluggish.  I expected better.

After some head scratching I narrowed the problem down to the card configuration in the R5.
The R5 has dual card slots – one for SD cards and one for a CF Express card.  I have this set-up so that files are written to both cards simultaneously.  The problem was that I had the priority card set as the SD card, not the CF Express card.  In my set-up, the CF Express Type B card has a spec’ed Read speed of 1500 MB/s and a Write speed of 800 MB/s.  By comparison the SD card is 170 MB/s.

I surmise that when shooting bursts, files are written to the card first before being transferred, or even if the activity happens in tandem (write a bit, transfer a bit) it is still limited by the maximum input/output speed of the card.  I changed the priority card to the CF Express.  This resulted in a significant improvement.

Lesson learnt – whichever is the fastest card, set it to be the priority.  Sometimes the bleedin’ obvious is so easy to overlook.

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To set up the R5 card priority:

• Spanner/Wrench menu
• Option 1
• Menu item – ‘Record func + card/folder sel
• Select 4th option (Camera symbol)
• Select ‘Play’
• Set card 1 to be the priority card for playback. (in this config, Card slot 1 is the CF Express Type B card, which is probably faster than an SD card)

Over the years I’ve accumulated a lot of stuff, but I’ve managed to cut down over time as my tech footprint got out of hand. You know it’s getting ridiculous when you find old smartphones down the back of the sofa.

Maybe I’m a Luddite, but I find it annoying when a perfectly capable piece of hardware that was viable on a Tuesday, following an operating system or software update on a Wednesday, can be rendered useless. Now I’m realistic, I don’t expect companies to maintain legacy platforms forever, but the pace of change to gain features that I didn’t really need, just to keep equipment current, is relentless. So, some years ago I decided to find out how long I could keep original equipment going, and whether it would be possible to integrate new equipment over time, 

as needed. The answer is yes, up to a point.

Where am I now? A few years ago (a lifetime in technical terms), I built my own computer. The maximum available RAM -16 gbytes, was installed, with Windows 7. I then disconnected the machine from the internet – it’s the ultimate firewall. This has been my main editing workstation ever since. There have been some hardware upgrades to the graphics cards and disks to SSD. It still runs as fast as the day I built it. Will it handle 4K, the latest graphic acceleration? I’m thinking no chance, (I haven’t tested it) but for Photoshop (CS6), Lightroom 6, InDesign CS4, it runs sweet. For access to the Internet, I have separate laptops, or “stunt” machines as I call them.

Now you’ve probably noticed that I’ve painted myself into a non-internet, non-Adobe subscription, software corner. At some point I’ll rebuild the system from scratch to the latest Windows OS, but for the moment, it’s a productive and hassle free environment. Be warned though, this approach does require compromise, and if that’s a dirty word, then there’s no point reading on.

The compromise…

Using the latest digital camera? If it’s not in the Lightroom 6 Camera RAW database, then handling those RAW files in their native state isn’t possible (unless they’re DNG). Why not switch to DXO or Capture One? (other applications are available). You might be able to dodge the subscription model, but don’t expect the latest versions to run smoothly, or at all, under Windows 7. Why would companies write software for outdated operating systems? It’s a potential support nightmare for them.

I use the Adobe DNG converter to convert Canon RAW files to the DNG format. For some this will be a non-starter as the proprietary features enabled by Canon’s dual pixel technology won’t be available, but if I can’t nail focus or get the lighting right to start with on a still image, maybe I should think about doing something else. For those that like belt and braces, the original RAW file can be included in the DNG wrapper, but it does make for large files, or the original Canon files can be archived. It’s an overhead of the workaround.

DNG conversion has been the subject of some polarised debate. I suppose for some, it may be considered that I’m “downgrading” my files through conversion. Dual pixel advantages aside, which I’ve already acknowledged, it certainly doesn’t feel like that.

Here’s an interesting experiment. I converted a Canon CR2 file from a 1200D (not a bad little camera,) into a DNG file using the Adobe DNG converter. I then loaded the original CR2 file and its DNG equivalent into Lightroom, processed them identically, and output both files as a PSD format. I then loaded both of the files (same image, just sequentially named by Lightroom on export) into Photoshop as layers, and set the blend mode to difference.  

The difference blend mode subtracts the pixels of the base and blend layers, the result is the greater brightness value. However, when two pixels of the same value are subtracted the result is black, which is exactly what I got. The DNG conversion, while being the long way round, got me to the same place. Interesting.

For any Canon users out there on Windows 7 and using the DNG converter, (am I the only one) version 12.4 is the end of the road. It supports Canon R5 files, but anything after DNG 12.4 (which is now a legacy version), won’t run on Win 7. For today, it does the job without any drama and extends the life of the current platform. 

Windows X or later is beckoning, but for the moment I’m going to concentrate on photography rather than building another computer.

Of course, I could jump off the Canon ship to a camera manufacturer that supports an open standard such as DNG natively, (Leica), if only my pockets were deeper. Better start saving…

The mission, to see how long old tech can be kept working with new equipment, continues.

To recap – over the years I’ve been on a steady upgrade path of cameras. The trick is getting maximum mileage out of ancillary kit, (computers, laptops, cards, etc) without compromising the point of the camera upgrade in the first place, while making sure the solution is robust and fit for purpose.

I have an old 16 gbyte iPad 2. I know it’s old because Apple officially declared it obsolete – worldwide. That’s a bit of bind as it works fine, apart from the fact that many apps, don’t run on IOS 9.x, and the iPad 2 can’t be upgraded to a later IOS version. For example, I was quite happy using Dropbox to transfer camera manuals onto the iPad for my training classes, until I couldn’t, because the Dropbox app moved on. It’s the same for latest iteration of Canon connection apps.

Is it going to become the world’s sleekest electronic Frisbee? 

Fortunately the battery hasn’t given out, (there are hacks to replace it – not for the faint hearted though), and it just so happens that I have a job for it.

I want a screen, (that’s not the back of my camera) to display automatically relayed JPEGs from a Canon R5, and to review a selection with the person being photographed as we go along. It helps when discussing small changes to poses, or showing the lighting building up, as part of the process. At the end of the session, I have flagged a selection, (I exclude test shots etc) from which we draw up the short-list. 

Feedback is it adds to the experience, makes sitters feel involved, and more importantly, as we go along, less apprehensive, (most of my subjects haven’t been photographed in a studio setting).

The iPad 2 is perfectly suited – small, lightweight, an excellent quality screen for its age, and I wouldn’t be mortified if I accidently broke the screen while on a job, (unlike breaking a brand new one). So how do I get the R5 talking to it? Canon Camera Connection apps are out, (latest versions on the app store are not supported on IOS 9.x), but I do have the Shuttersnitch app, installed from a few years back, and it still works.

The setup

Prior to version 4.3, Shuttersnitch will connect with an EOS R/R5 (I’ve tested both) with the following settings, but only for manual download.

WI-FI cameras >

 Canon CameraWindow (Set to ON)

PTP/IP (NIKON WU/EOS UTILTY) Set to Enabled

Download > New files

Setting up the WI-FI on the camera as “Connect to Smartphone” select the network created by the camera from the iPAD, open a Shuttersnitch collection and it will confirm the connection.

From the wrench menu in Shuttersnitch, you select theimages to import – easy.

Automatic Transfer

For automatic transfer to Shuttersnitch from Canon R cameras you will need the subscription version, and then it’s a straightforward point to point connection (Connect to Smartphone) between the R/R5 and Shuttersnitch.

Personally, I’m cautious about updating anything on this iPAD; it’s obsolete. While I’m confident the Shuttersnitch app will behave, there is always the law of unintended consequences, so I looked at if there was another way to automatically push files to the existing Shuttersnitch app.

EOS R – no sorry – nothing obvious

EOS R5 – yes – use the FTP functionality.

Shuttersnitch is an FTP server, and FTP has been around as long as I can remember. It’s a utility that only does one thing – transfers files – and if you have the patience to set it up, in my experience, once done, its rock solid.

Along with my old iPAD, I have a ZTE MF60 3G portable hotspot dongle, (older tech). I would have ebay(ed) it but the going rate is about £15.00, so it’s been at the back of the drawer. The data plan expired years ago, but it’s still a functional pocket Wi-Fi hotspot. (Using a mobile phone as a wifi hotspot, in principle, should also work – but I haven’t tested it.)

I’m in business…

Connecting it all up.

Connect the iPad to the pocket Wi-Fi to add the network to its list.

Set up the R5 Wi-Fi to connect to an FTP server – follow the menu prompts.

The network device for the R5 will be the ZTE MF60, (or whatever Wi-Fi router you’re using.) To connect I used the WPS function on the ZTE MF60. Be patient. The R5 will find it and the access will be configured.

Now we have a routed network between the R5 and the iPAD via the ZTE MF60. The next step is to finish configuring the FTP side on the R5. 

On the iPad, now connected to the pocket Wi-Fi, open Shuttersnitch, and create, or open an existing collection. A tap at the top of the screen of the collection will show two important items of information:

IP Address (the address of the Wi-Fi hotspot).

Port Number: will be 26000. This is important.

On the R5 continue through the FTP setup

Target server Address = the IP address of the Wi-Fi hotspot. Should be the same IP address as shown on Shuttersnitch, as both devices are connecting to the same pocket Wi-Fi.

Target server Port No= 26000

Login name = snitch

FTP password = whatever password you have set on Shuttersnitch for admin access.

Target folder = ‘/ ‘ this is default value – no need to change

Passive mode = Enable

Proxy server = Disable

Other options leave at default

R5 Wi-Fi Settings> FTP transfer settings

Automatic transfer = Enable

Transfer type/size = set to JPEG only. It will take time to transfer RAW files and then Shuttersnitch has to render them. Seconds can seem like ages when you’re with a customer uttering the phrase “it’ll be along in a minute…”

Transfer with SET = Disable

Set root certif: leave at default. Nothing to change. In this example config, we’re not using a secure FTP protocol – its vanilla FTP.

Power saving: set to Disable to transfer files as fast as possible. If battery life is an issue then set to Enable. Transfers will take longer as the FTP connection is not kept open. It is nailed up as and when there are files to transfer, then when done, it is torn down. The initial connection can take up to 20 seconds.

Save the configuration and it will show in the R5 Wi-Fi access options as the IP address.

Make sure the iPad is connected to the Wi-Fi hotspot.

Open Shuttersnitch and open a collection. This is important. The FTP transfer will only work if there is an open collection to send the files to.

Select the new configuration from Canon Wi-Fi menu. Wait. It can take a few seconds to login to the Shuttersnitch FTP server.

Once the R5 confirms the connection – files will now be sent automatically to Shuttersnitch.

Considerations

With this particular set up I estimate the actual throughput speed at 10 Mbit/s. I don’t recommend sending RAW files to Shuttersnitch – it will take too much time. Your speed will vary dependent on your router and network configuration, but a speed of 00’s Mbit/s is optimistic.

Set the JPEG quality on camera to S1 fine. I’m not looking to back up files, and I’m not looking to edit on the fly – it’s simply a tool to facilitate communication and build confidence with the Customer. I use custom picture styles on the JPEG so that they look closer to the intent of what I will achieve with the RAW file.

Disable power saving in this configuration and the transfer of S1 JPEGS is practically instantaneous.

With power saving enabled, if your style is continuous shooting, after the initial FTP connection, as above, files will be transferred in batch very quickly.

There you have it, my basic FTP connection between new tech (Canon R5) and old tech, (iPad2).

Are there more sophisticated solutions available? I have no doubt, but this does exactly what I want with no fuss and no dropouts, leaving me to get on with the job in hand.

(Final note: this configuration should also work with a Canon 5DMkIV – if you feel the need, or it will also work well with Shuttersnitch as PTP/IP)

I’m on a continuing mission to see how I can repurpose old equipment to do something genuinely useful. It’s partly driven by money, (do I have to buy another thing to do this?) and partly through a personal annoyance that an item of hardware which was perfectly fit for purpose when new, is now considered obsolete as the original purpose has moved on.

So far I have connected a Canon R5 to a 16gbyte iPad2 running IOS 9x using a redundant mobile dongle over 2.4ghz WiFi as a private, non-internet, local network.

Over several studio sessions it has worked well, except for those occasions when it didn’t. Sod’s Law dictated that the set up fell over during a studio session having worked perfectly at home with the pre-packing checks. The problem is easy to spot – the files transfer intermittently at a snail’s pace, or they sit on the Canon with the WiFi icon flashing – the connection seeming to have mysteriously dropped. 

I think I’ve tracked this down to several possible problems:

1. The venue where I work is very congested in terms of WiFi networks. I’ve lost count of the network SSID’s that appear on the list of available, but secured, networks. My dongle isn’t sophisticated enough to handle channel hopping.
2.  If the studio session is a long one, I suspect low battery on the dongle weakens the WiFi signal.

I’ve decided that the mobile dongle be delegated to my backup, so what do I do for my main solution?

Old Broadband Routers

It wasn’t that long ago that we were encouraged to “switch, switch and switch” and I did my fair share of it, hopping from one introductory Broadband deal to another. Once out of contract, none of the providers wanted their router back, and the new provider always sent me a new router.

Recent routers (it will vary on your provider) have undergone upgrades so that channel hopping and dual bands are supported as standard. Using this I’ve “upgraded” my solution to a powered router with a private 5Ghz WiFi network.

Why 5Ghz?

The main difference between the 2.4 and 5Ghz bands is that 2.4 provides lower bandwidth, better reach and penetration through and around obstacles. 5Ghz provides higher bandwidth, less reach and doesn’t work well through walls.

This band is ideal for what I want. In the studio I have clear line of sight between the camera, iPad and the router, and as I am alone in the studio, if anyone is running 5Ghz WiFi outside in adjacent buildings, essentially I’m shielded from too much interference (5Ghz isn't good at going through walls).

The Setup

The router I’m using is a PlusNet Hub One which I think is based on a Sagecom platform.

You will need access to the router admin to:

•  Configure the 2.4 and 5 Ghz bands
•  Implement static IP addressing
•  Disable Broadband (Wide Area Network) access.

Step 1 - connecting the iPad to the router

You will need access to the router administration.

•  Router access control should be set to WPA.
•  Disable access to the Internet.
• Next - connect the iPad to router – entering router password as if joining a standard WiFi Network.
•  Open Shuttersnitch on the iPad. Open an existing, or create a new collection. In the collection double tap on the top of the screen and make a note of the IP address. This should be the IP address dynamically allocated by the router (at the moment).

Step 2

I can’t see an obvious way to force the R5 to use a particular WiFi band. If the router is configured for both 2.4 and 5Ghz, the R5 (well mine anyway) defaults to the 2.4 Ghz band.

The iPad consistently connects to the 5 Ghz band.

As I want to use the 5 Ghz band on the router for the iPad and the Canon R5, I turned off the 2.4Ghz band on the router. Brutal, but effective.

Step 3

•  In the router admin menu the iPad will show as part of the wireless network. For the iPad set the IP address to STATIC. You might as well leave it as the same address as dynamically allocated by the router. This is important. Shuttersnitch uses a combination of FTP port (26000) and the IP address number of the iPad (as allocated by the router) as the destination address for the Shuttersnitch FTP server.
•  If the IP address allocation on the router is left as dynamic, there is no guarantee that the same IP address will allocated to the iPad on each session, so the destination address can change without you having lifted a finger.

o If the  IP address is different to that entered in the R5 FTP address configuration (Port + IP address), the R5 will fail to connect.  Static IP addressing gets around this.

Step 4

 Connect the R5 to the router from the FTP icon and configure as follows:

•  The network device for the R5 will be the Wi-Fi router you’re using
•  If available, using the WPS function will configure access. Otherwise, it can be configured manually.

FTP entries required for setup on the R5

•  Target server Address = the static IP address of the iPad (as allocated by the router.  Once static addressing has been configured this can be checked by double tapping at the top of the screen in a collection in the Shuttersnitch app)
• Target server Port No= 26000
•  Login name = snitch
• FTP password = whatever password you have set on Shuttersnitch for admin access.
• Target folder = ‘/ ‘ this is default value – no need to change
• Passive mode = Enable (default)
• Proxy server = Disable

Other options leave at default

R5 Wi-Fi Settings> FTP transfer settings

•  Automatic transfer = Enable
• Transfer type/size = set to JPEG only. It will take time to transfer RAW files and then Shuttersnitch has to render them. Seconds can seem like ages when you’re with a customer uttering the phrase “it’ll be along in a minute…”
• Transfer with SET = Disable
• Set root certif: leave at default. Nothing to change. In this example config, we’re not using a secure FTP protocol – its vanilla FTP.
•  Power saving: set to Disable to transfer files as fast as possible. If battery life is an issue then set to Enable. Transfers will take longer as the FTP connection is not kept open. It is nailed up as and when there are files to transfer, then when done, it is torn down. The initial connection can take up to 20 seconds.

Save the configuration and it will show in the R5 Wi-Fi access options as the IP address of the iPad (as configured on router). As I’m running multiple configurations, one for the pocket dongle, and one for the router, I edit the FTP entries on the R5 with meaningful nicknames.

Security Considerations

FTP is insecure, the login and password are broadcast in the clear.

Security is down to your own personal risk assessment. I consider the risk low as the router is not connected to the internet and remotely accessing the iPad on a secured local WiFi network in a private studio – well if someone can be bothered… (plus there is nothing of value on the iPad worth stealing)

If I were in a public space – then my assessment would be different.

Based on my risk, I don’t run a firewall on the router. Performance gains are marginal but I like the idea of data flowing from the R5 to iPad over vanilla FTP with the minimum of overhead.

Stuff that may happen…

This will depend on your router/iPad config but one irritating feature of the iPad/Plusnet router combo is that after some time, there will be a prompt for a router password to access the internet. Rather than ignoring this screen, cancelling will bring up the prompt along the lines of “don’t use this router for internet connection”. Say yes”.

When the connection has fallen over, this screen has been present. Is it the culprit? I don’t know but so far having turned it off, the problem hasn’t happened again…yet.

Apart from that – it just works .

So far I've connected a Canon R5 to an obsolete 16 gbyte iPad2 running IOS 9 using a spare broadband router, a 5ghz local Wi-Fi network and the Shuttersnitch app.

The reasons were to bypass some 2.4ghz congested airwaves and a touch of bloody mindedness in that I had functional but redundant tech which is not going to landfill.

Soon after having set this all up the Shuttersnitch app refused to work unless I updated to a subscription (I had originally bought it before the subscription model came in).

Going onto the Apple app platform I thought - "Ok - its been a while - lets upgrade the app". Unfortunately, with the iPad2 I’m in an IOS9.x cul de sac. The latest version of Shuttersnitch will not play with IOS9x, (I get it – it’s a redundant platform).

After some head scratching it turned out that I had allowed the iPad to update apps and it had updated Shuttersnitch into a state where it couldn't function. Finding myself with a tech frisbee I had nothing to lose by rolling back and resetting the whole iPad to an earlier state (account with the iCloud required). It worked - Shuttersnitch was restored. I have since turned off auto updates.

As an exercise to see how long I could keep old equipment working, its apparent that from a resilience viewpoint old platforms come with some risk, but using a tablet during the studio sessions has proved to be popular with the sitters.

I have dual cards on the R5 and multiple batteries. If a flash head blows I can redesign the lighting (I have more than one). If the router blows up - I have a mobile dongle, but if the iPad goes South - nada.

I need some redundancy.

Rather than opting for another iPad, following a philosophy of reusing hardware where possible, I picked up a refurbished Huawei Mediapad with a ten-inch screen, running Android 7.0 at a fraction of the price of a newer iPad. For me it has one major advantage over the iPad – the internal storage can be expanded by a micro SD card. What follows is how I’ve configured (and not) the Mediapad to provide functionality similar to that which I have with the iPad and Shuttersnitch.

(Note: the Shuttersnitch app is not available for the Android OS)

Apps (these are Android from the Google Playstore)

1. Canon Camera Connect – free download

The Canon Camera Connect app installed – no problem and connected with the R5. For me, compared to Shuttersnitch, the app is clunky. Sorry Canon, I won’t be using this for my solution. 

2. Camera Connect (and Control) – RudiApps. Paid for app.

A one off purchase from the Google Play Store, and worth it . I’m not going to go into an in depth review but I think if this functionality is of interest to you, then it is worth a trial, (I can’t comment on how it will work with other camera brands).

Functionally this app is similar to Canon Camera Connect, but it works better for the transfer and almost immediate display of files.

It also allows remote control. I did break it a couple of times by waving the camera around while connected in Live View. When the camera was still, it seemed quite stable, but I didn’t test it that hard. It’s not the main functionality I want.

For auto download and full screen display it works with the Canon R5 without any glitches. It can also be configured to download the transferred files to a local drive. A useful feature if I need to use the EOS R backup camera (single card). The RudiApps cache copies them to a specified folder, reassuringly cycling through, copying files in background without affecting the performance of the transfer and display of files from the R5.

RudiApps plus points – it works with the EOS R and the EOS R5, as a direct point-to-point connection between the camera and the tablet (Camera Access Mode) or via the router configured at 5 GHz with the R5 - still in Camera Access Mode.

To recreate the Shuttersnitch usability – Camera Connect gets me close with the exception of selecting and rating the images with the Customer on the tablet at the end of the session.

Using FTP on Android

Camera Connect does not support FTP, but as a matter of curiosity, having gone to the trouble of configuring the R5 for FTP transfer via the repurposed router, I wanted to see if I could recreate the setup I had on the iPad.

I installed an FTP client on the Android tablet. Wi-Fi FTP Server from Medha apps. It comes in a lite and professional version. The lite version works fine. I only need the basic functionality and in some respects, it is easier to configure than Shuttersnitch on the iPad.

The Config - Wi-Fi FTP Server

Under Settings the Port number, User ID and password can be set to whatever you like – just remember to ensure the settings are mirrored in the R5 FTP config.

By default, files are transferred to a Root folder. This app has an easy configuration to specify a Custom folder that the files are saved to.

To view the files I use Lightroom Mobile, version 7.11, running in offline mode (the tablet isn’t connected to the Internet, the router is creating a local network). This limits much of the cloud functionality – but as I only want this as a local network, that’s fine. I’ve set a basic configuration as follows:

Lightroom Mobile config

Under Preferences set Enable Auto Add to On

Drilling down into the Auto Add tab set:

IMPORT SELECTED FORMATS – I have this as JPGS/PNGs only.

IMPORT LOCATIONS – Select the device folder that has been set as the custom folder by Wi-Fi FTP Server (I also use the same folder for the copying off files from Camera Connect).

This works the same way as a watched folder set-up on a laptop/computer.

This is slower than using Camera Connect and Control in Camera Access Mode.

Configs in use...

1. RudiApps Camera Connect over 5ghz network

Using the RudiApps Camera Connect the display of images on the tablet is near instantaneous. The RudiApps will also copy the files in background into a watched folder where they can be picked up by Lightroom.

Suggested workflow:

1. Camera Connect to display images to client during the shoot.
2. Lightroom Mobile for end of shoot review and rating/selection - the files will have already been loaded in background.

Setup is as follows:

The Mediapad is connected to the local 5 GHz network created by the reused router.

To connect the R5, select the icon for connection to a Smartphone – going through the menus don’t use the Camera Access Mode option – instead select Easy Connection. The router should show in the list of SSID. If not, backup through the menus, select Manual connection to enter the SSID of the router. Once that is “Okayed” RudiApps will connect with the R5.

RudiApps Camera Connect is configured for Auto Download to the same folder as watched by Lightroom mobile. I have this set to a folder on the added in micro SD card.

Upsides:

1. It's very quick.

Downsides:

1. This chews through batteries at a surprising rate. Okay - there's no free lunch but be prepared to swap them out. For spares I use Hahnel Extreme HLX-E6NH, a good value alternative to Canon OEM batteries. I’ve been using these as spares for about 6 months with no issues.
2. Is it a downside? Personally I would prefer not to be app switching - my limited brain power is taken up with the shoot - but that's me.

WiFi FTP and Lightroom Mobile over 5ghz network

In practice using FTP to transfer files to a watched folder that is then picked up by Lightroom mobile is slower than the Camera Connect solution. The difference is a matter of seconds rather than having the tablet behaving as a rear camera screen extension for chimping. Performance suffers through comparison but it is only seconds - still usable.

Upsides:

1. Only using one app- Lightroom Mobile for the whole session.
2. Batteries last longer - a lot longer,

Downsides:

1. Slower than RudiApps Camera Connect.

Final thoughts

I admire the iPad as an item of design and usability, but once out of the Apple lane – for me it was a pain. I know the ethos is a secure, robust Apple eco-system but I come from a background of DOS and Windows, I’m not an Apple native. The real deal breaker for Apple was that I couldn’t add extra storage as easily as slotting an SD card into the Mediapad.

Performance wise this Android tablet is better than my iPad. Hardly surprising – with IOS 9x on an iPad2 I am probably working close to the iPad’s performance threshold. It becomes apparent if there are apps running in background - if you don't need them - turn them off. This isn’t a criticism of Apple – it’s an acknowledgment that when you try to repurpose older technology, at some point you’re going to hit a ceiling.

Batteries

I haven’t taken exact measurements but using the R5 in PTP mode seems to drain the battery faster than FTP, so I would recommend spare batteries. It’s not a problem. In the old days, we loaded film, now its power.

If power usage is an issue, I’ve done some unscientific tests at my desk using the R5 in FTP mode. It is slower by several seconds which seems a long time when I’ve watched the jpegs displaying on the tablet as fast as if I were chimping on the back of the camera, but its not sucking those batteries dry.

Conclusion

This all depends on your workflow. My studio sessions are relatively sedate.

When I pack my bag I opt for the iPad. Yes -the iPad. I've gone through the aggravation of getting it working with the R5 and I do enjoy the Shuttersnitch app. It is really well designed - not overloaded with features and it has never crashed on me. I am also secure in the knowledge that if things go wrong - I've got a fallback position.

I have no doubt your choice may vary from mine- but I trust I've given you some options.

Of course you could always just tether with a USB cable...

In October 2018, Canon launched their foray into the full frame mirrorless camera market with the ‘R’, being a short-hand for “Reimagine optical excellence”.

If you were to read the reviews at the time those that were kind likened the R to the proverbial curate’s egg i.e. good in parts.  Others slated it; the main claim being it wasn’t Sony.  Well they were right in that respect – it’s not Sony.

What Canon did was bold, they introduced a new lens mount and deviated from the tried and trusted DSLR user controls to come up with something that was Canon, but wasn’t.  You could hear the sound of die-hards blood vessels popping.

Is it that bad?  Well on the back of those duff reviews I picked up a refurbished copy of the EOS R, saving a few quid, figuring that if I had picked up a lemon, I would quickly sell on and nearly break even, (I was going to treat it like an extended hire if it didn’t work out).  It’s now 2021 and the EOS R is still around. I have to say that when I’m going out to take some photographs, more and more I’m reaching for the R rather than the EOS 5D MK IV.  Is it perfect?  No, but what is the perfect camera?

Let’s go through the list of gripes and put them in “Dave” context, (some of you will argue I’m making excuses for it, but as I say, it would be easy to be shot of it if I didn’t like it.)

1. No dual card slots. 

I can see that being a deal breaker for some photographers, especially those that do weddings, or one-chance events.  I don’t do weddings.  For landscape, this doesn’t bother me.  I make sure that I use good quality cards and so far, (touch wood); I’ve never had any problems.  I’m also old enough to have used film – so I’m in familiar mental territory. However, if I were to do weddings…

2.  The Internet wasn’t impressed with the video capability.

I didn’t buy the EOS R for its video capability; in fact, I’ve remapped the video button to be the depth of field preview – works a treat.

3. No in body image stabilisation. (IBIS)

I used image stabilised lenses when they first came out and that was a revelation for hand holding long lenses.  I can see how this would be an advantage for shooting video, but as I don’t…there’s nothing that the camera can’t handle by increasing the ISO a couple of stops (modern digital cameras are impressive in this respect), or using a tripod. If IBIS is an absolute essential, then there is always the R5, but I can see at the price point that it would rankle with some. For myself, as I tend to use lenses at the wider end, it’s not an issue.

4. No auto focus point nubbin’ thing a’la 5 and 1 series Canon DSLR’s

It’s found its way back on the latest iterations of the R, but I’ve found using the D-Pad fine, but then I don’t shoot sports, landscape and portraits are a bit less frenetic.

5. Poor battery life.

Mileage is going to vary on your usage, I’ve not had any problems.  My view on it is that there is no free lunch.  I’m running a mini-computer with a tiny television for a viewfinder. For that, changing out a battery occasionally is not a big deal.  I carry some spares with me which take up less space than in the “old” days when I used to carry pockets full of 35mm film. 

Plus ça change.

What I really like about the R…

6. Manual focus aid.

Canon have implemented a simple and very effective tool whereby you place the focus point over the subject (anywhere in the viewfinder) and then as the subject is brought into focus, two arrow heads converge until they meet.  Voila!  You have focus.  I love it and it works with my Zeiss ZE lenses (via the adapter ring) a treat.  There is also display magnification and peaking available as well, pretty much standard for a mirrorless viewfinder.

7.  Button customisation

Most of the buttons on the camera can be allocated to whatever function you want.  The customisation is extensive, (not total), but how many permutations do you need?  Combine this with the Custom functions and I can change the behaviour of the camera with a turn of the mode dial – any remapping of buttons are remembered as allocated to the Custom function set.  I have my camera for landscape, and camera for studio, in one body.  Okay, it’s not ground breaking but the combination of Custom functions and the ability to remap buttons makes this one of the most flexible Canon’s to configure.  Oh, and you can even turn some buttons off.

8. The Multi-function bar

For some this was a bridge too far, its gone missing on the latest iterations, and I can see why.  It’s easy to hate.  For instance, covering the whole thing up to activate it so that it’s not turned on by accident.  How much does it have to be covered?  How long? Cue some gnashing of teeth.  However, as it’s customisable, I’ve decided that if I do activate it by accident, which hasn’t happened as I’ve “grown” into the camera, the functions won’t be anything that will throw me off. I’ve set it up so that it’s always active, a right tap toggles the spirit level in the viewfinder, and a swipe magnifies the view.  Works fine.  Left tap is disabled for the moment – the jury’s out, but overall I think I’d miss it now if I didn’t have it.

9. It’s not that heavy.

10. The mount adapter.

Year ago Canon abandoned the FD mount for the EF mount leaving owners of FD lenses trying to work out what to do with them if they bought into the EOS system.  This time round Canon obviously twigged that unless EF lenses could be fitted to the R mount (especially as the first round of R lenses were’nt cheap), the R system was going to be hamstrung from the off. The mount adapter comes in three versions:

i) Bog standard – think of it as an extension tube

ii) Adapter with control ring

iii) Adapter with control ring and option to drop in ND filters

The adapter with the control ring can be configured to change ISO or manage exposure compensation for example.  I’ve configured it to change the aperture.  Changing the aperture with a ring near the lens – that’s like using an old, but new camera.  Great.  Everything works, as it should with the adapter, in fact, surprisingly enough, EF lenses seem to focus with a little bit more snap, or is that just me?  (Sorry – I haven’t measured this, so file it under “anecdotal”).

11. The Electronic Viewfinder (EVF)

I first came across an EVF on a Fuji that I borrowed for all of 10 minutes (“can I have a look …pleeeaassssee”) and I was impressed. The R EVF doesn’t disappoint, but then again I don’t shoot sports so I haven’t tested it to that extent. It’s different from an Optical Viewfinder (OVF), in that the experience isn’t exactly the same if just looking at a scene (this is before I get to the good bits). I can’t put my finger on it. Maybe it has something to do with the fact that the image in an OVF is travelling at the speed of light. That said, and I know this isn’t exclusive to Canon, but being able to view a luminance or RGB histogram in the viewfinder, preview depth of field without the viewfinder going dim, and the as already mentioned focusing aids, once you get used to it, its strangely addictive.

Summary

Based on a spec sheet, when compared to its peers, it’s flawed.  In practice, I’m finding the R a very pleasant piece of kit to use.  For my type of photography the R is well suited, and it’s earned its place in the bag.

If you want a can do anything that’s thrown at it camera, then you may as well skip straight to the R5, and pay the premium accordingly….or there’s always that Sony Uber beast.

Would I trade a 5D MkIV for an EOSR ? No. They’re two different propositions. If I were shooting wildlife, sport, weddings, I would probably reach for the 5D. But for landscape, street photography, still life, the R does what it does very well.

I’ve been having a virtual clear out and I found this article I wrote for a long lost dead blog back in 2012, prompted by the death of one the greats of the comic book art form – Gene Colan, and also partly in response to a criticism that I wasn’t taking my photography seriously because I liked comics, (and now the Marvel Cinema Universe has been responsible for some of the highest revenue films in cinema history – well I never.)

It's been a while and I’m still agreeing with myself, (someone has to – its the Law of Averages?)

Gene Colan has left the room.

Eugene Jules Colan, artist, born 1 September 1926; died 23 June 2011.

I’ve been meaning to mention Gene Colan in an article I’ve had knocking around in my head, along with Jack Kirby, Steve Ditko, John Romita and many other comic book artists that I grew up with. Gene Colan’s unexpected demise, (I don’t follow the comic industry with the same fervour that I did as a teenager), acted as a prompt, although I’ve held off until now as I didn’t want to ride that closely on the coat-tails of bad news.

I read super hero comics from around the age of six into my early twenties. Back then it was well thumbed and dog-eared copies of Superman, Batman, and Green Lantern, which we used to get from a lovely gentleman who ran a stall in the Whitechapel market in London. Every Saturday we would take our comics to him, he would examine them, and with the aid of some maths only he knew, we would exchange them for “new” titles for a peppercorn. Or if we had looked after them, we could do a one for one swap for nothing. None of the titles were in sequence, but it didn’t matter.

Revisiting the remainder of my collection, (much of it went to charitable causes many years ago), it struck me how comic book art has, and continues to evolve. I was initially “weaned” on Curt Swan, for me the only person who drew Superman as a mature man. Then I discovered Spiderman, the Incredible Hulk, and was introduced to Steve Dikto and Jack Kirby, pioneers of the “Marvel” style. Steve Dikto could draw nine panels to a page and it wouldn’t look cramped. Jack Kirby was just let off the leash with the Fantastic Four, with bolder full page splash layouts illustrating in mind boggling detail Reed Richards latest inventions.

Back then, the American imports weren’t available, and I had to rely on British reprints. It was only when I got a job and was introduced to Dark They Were and Golden Eyed, and the Forbidden Planet in Store street that I discovered the vast range, and started to get picky about which titles I followed, based primarily on the artist. Money was tight, so I would default to my stock favourites, anything by John Bryne, and John Buscema. Pretty safe, and if Gene Colan was the guest artist on a title which I was following, you just knew the art would be up to scratch, that was a given. But I never pro-actively sought out his work, as while I was influenced by the artist, the title also had to have a plotline and narrative that I was following. I had followed his work on DareDevil, but that was through the old pulp British black and white reprints. They didn’t really do him justice. Thankfully, as I got slightly more affluent, I was able to take more risks and it was then that I discovered Frank Miller (with a more conservative, less bold style on his first DareDevil), and Gene Colan on Tomb of Dracula. Now, I don’t claim to know what goes on in the creative minds of these guys and I had followed Gene Colan’s work on and off through Iron Man, Captain America, The Avengers and DareDevil, and I who am I to criticise it? Let’s be honest, who would turn down the gift of a fraction of his talent, if that were possible. Not me. But there was something about his work on Tomb of Dracula that for me lifted it for me above the previous. Was it the collaboration with Marv Wolfman (writer) and Tom Palmer (Embellisher),which brought out the best in him? I don’t know, but what I do know, was that this was/is the art-form at the top of its game and it was no fluke.

Gene Colan did a short tenure on Doctor Strange, a title that always seemed to struggle, and I remember sitting there asking myself, “is this the guy who did Iron Man? Wow !”. Now that last statement might sound like I was belittling his earlier work. Not at all. What it shows was the awakening of my true appreciation of the art-form; (YES, it is art and don’t let anyone tell you otherwise), and maybe my eye had become discerning enough to register the evolution of the work, because nothing stays still.

With my new “eyes” I went back over the more recent work of Jack Kirby. He had gone to work for DC Comics on Superman and had re-invented Jimmy Olsen, introduced the Boom Tube, Darkseid, and Granny Goodness. After Curt Swan this was too much. Now though, I could see the confidence in those bold lines, and no, it wasn’t photo-realistic, or dare I say it, at the risk of being lynched, “life-like” but if I wanted that I should have been subscribing to “Jackie” or the like with their photo-stories. This was the power of representative narrative at its best.

I followed Frank Miller as he reshaped DareDevil, and watched as the artwork evolved into something that was unmistakeably his, and I enjoyed every single issue.

In the same frame of mind I reviewed my own work over the years. It’s changed. Is it better? Well, yes, from certain technical aspects, but it’s still my style, for good or bad, and that continues to evolve, as degree by degree, I learn something more about light, without which there is no photography. While we will all strive for, and no doubt will achieve technical excellence, the pursuit of this for its own sake will surely leave something missing from the end result. Once you have mastered every technological nuance and can produce a photograph that can withstand no end of pixel peeping and millimetre measurement of the Rule of Thirds, what then? We have to look further.

What has that got to do with comic-book/graphic art? That depends totally on your outlook. I’m using it as a metaphor to underline my belief that no art-form, (and I include photography, painting, sculpture, architecture, comic book/graphic art etc in this) are isolated from each other. If you haven’t already done so, by all means engage with the photographic work of others, but while you’re at it, search out art through the ages, the Renaissance, Impressionism, the Pre-Raphaelite movement, the Glasgow boys.

You never know, you may be pleasantly surprised and inspired and you won’t have needed 15-20 years of graphic art, (I don’t regret a second),to have opened your eyes to the possibilities of how this could help your own personal work develop.