canon lcd panel doesn't shut off price

"Just like Canon"s Professional series line of camera"s the EOS 90D does not have an eyepiece sensor to turn off the LCD screen and requires the info button to be pressed in order to turn off the LCD screen while shooting photos through the viewfinder."

My recollection is that the shutoff "feature" wasn"t there because it was thought to be a convenience for the user. Like the rubber eyepiece cover that attaches to the neck strap, it was meant to keep light from the screen from leaking in through the eyepiece and biasing the metering. Perhaps the newer, better cameras are considered to be sufficiently insulated from spurious light that the shutoff is unnecessary. Note that if the screen serves as a touchscreen, you might specifically not want the shutoff.

Like most SLRs these days, the Canon T3 features a Live View mode for its rear-panel LCD monitor. The Live View mode lets you use the LCD monitor as a large viewfinder, and offers an exposure simulation function which attempts to display the expected outcome of your chosen exposure settings. A dedicated Movie / Live View button is used to activate or disable Live View mode on the Rebel T3, and the function is available in all still image shooting modes. (In Movie mode, the live view feed cannot be disabled, and the same button instead acts to start or stop movie recording.)

The Canon T3"s Live View mode feature set is comprehensive, and the display offers a lot of information such as current settings, exposure, and composition aids (see illustration below, courtesy of Canon USA). The Canon T3 groups settings related to Live View shooting in Record Menu 4, a much more logical location that that used by older Rebel-series models, which hide these options in a separate Live View / Movie menu accessed through Setup Menu 2. There"s still a little possibility of confusion though, since several options are duplicates of those in the Movie menus, and so if they"re changed in one menu, the equivalent variable will have changed on return to the other menu. A nice feature of Canon"s Live View mode is that it doesn"t immediately stop the live view feed when you enter the camera"s menu system, or switch between operating modes. Some rival cameras will immediately terminate the live view stream and drop the camera"s mirror in either instance, causing unnecessary wear and tear on the mirror and shutter mechanisms if you were intending to immediately continue live view shooting.

The Live View mode also includes a greatly abbreviated equivalent of the Quick Control menu screen that"s available when shooting using the viewfinder, accessed using the rear-panel Quick Control button. Instead of filling the screen, it is shown as a single column of icons at the left of the LCD display, and allows adjustment of AF mode, Drive mode, White Balance, Picture Style, Auto Lighting Optimizer, Image Quality / Size, and ISO Sensitivity, as well as selection of the active AF point if using Quick mode autofocus.

The T3"s Live View mode offers three autofocus modes, selected through the Live View function settings screen or Quick Control menu: "Quick mode," which employs the camera"s dedicated phase-detection sensor, as it would when using the optical viewfinder, plus two contrast-detection autofocus types--"Live mode" and "Face Detection Live mode"--which both operate on data streamed from the image sensor itself. Face Detection Live mode can detect multiple faces in the frame, but only selects (and indicates) one face on which the camera will set focus and exposure. The selected face can be changed by pressing the left and right arrow keys to jump through the detected faces in either direction. The contrast detection modes are slower than phase-detection focusing, but don"t require the mirror briefly drop to redirect light to the phase-detection AF sensor, which interrupts the live view display in Quick mode. The contrast detection modes can also be more accurate, and allow the AF point to be positioned anywhere within the image frame (except for the extreme edges), rather than being limited to the T3"s nine fixed AF points. On the flip side, Quick mode AF can be noticeably faster, even when taking account of the time to cycle the mirror, especially when shooting in low-light or with low-contrast subjects. Quick mode is also better suited to moving subjects, which can make it challenging to achieve a focus lock using contrast detection AF.

The point(s) at which a focus lock was achieved in Quick mode AF are indicated on the live view feed with a green focus point indication immediately after the live view feed resumes, since the feed must be briefly interrupted during focusing. Alternatively, you can bring your eye to the viewfinder during the AF operation. Even though you"re framing images using the LCD display, the viewfinder becomes visible with the mirror dropped for focusing, and the active AF point(s) are still indicated for the brief time that the optical view is available, perhaps letting you judge whether to trip the shutter just slightly earlier. Manual focus is also supported in live view mode, and includes either 5x or 10x image magnification to assist.

In Live View mode, evaluative metering is always used to determine correct exposure, though exposure compensation is available. The Exposure Simulation function will attempt to recreate the exposure level that would be obtained with your current settings on the LCD display. This may raise noise levels of the live view feed beyond what could be expected in the final image, since it must operate with a fast enough shutter speed to achieve its required refresh rate. The aperture also remains open by default, and so the exposure simulation doesn"t indicate the areas in focus unless you configure the Set button to provide depth-of-field preview, and then hold it down during live view. Exposure Simulation will attempt to continue even with depth of field preview active, though this may raise the live view noise levels even further. If you pass outside the range where the live view feed can simulate your exposure, the "Exp. Sim" icon near the bottom right of the LCD will blink, as a warning. Unlike in more sophisticated Canon SLRs, you can"t disable exposure simulation, and so there"s no way to obtain a clear live view feed with which to judge focus and framing, without being shown the effect of your exposure variable choices.

You can enable one of two different overlays, which divides the screen with either a 2x2 grid, or a 5x3 grid, useful for precise image framing. You can also specify how long the camera"s metering system should remain active without user interaction, within a six-step range from four seconds to thirty minutes. It"s overruled by the Auto Power Off function, so whichever timer is shorter will apply. Also, Live View shooting can be disabled altogether if you don"t use it, preventing the mode being accidentally triggered by bumping the Movie / Live View button.

The Canon T3 comes equipped with a temperature sensor, and if the internal temperature exceeds an undisclosed threshold, Live View will be disabled to protect internal circuitry from overheating. A high temperature icon is displayed on the LCD monitor to warn the user that image degradation may be occurring, and that the camera may disable Live View until normal operating temperature is restored.

The T3"s Live View mode offers an abbreviated equivalent of the Quick Control menu, accessed using the same Quick Control button as when shooting with the optical viewfinder. The vertical arrow keys select which option to adjust, while the Main dial or the horizontal keys makes the adjustment. The set key will call up a menu showing all available selections for one specific option.

Here, the effect of changing exposure by adjusting the shutter speed is simulated. (Note that this particular animation comes from our Rebel T2i review, but the function operates similarly on both cameras.)

A white box at the center of the live view feed. indicates the area that can be enlarged to aid in manual focusing or confirmation of precise autofocus, and can be moved around the image frame (except to extreme edges). Pressing the zoom button magnifies what"s in the magnifying frame by 5x. Pressing the zoom button again zooms in to 10x, great for checking critical focus, or for manually focusing. Once zoomed in, you can move the magnified area around in the box, using the legend at bottom right as a guide. If "Face Detection Live AF" mode is enabled, magnifying the image is not possible, though you can always check critical focus by magnifying the captured image, or temporarily switching to Manual focus mode. Note that this screenshot was captured on the T3"s HDMI port, and hence the layout has been changed to move the panning guide outside of the image area, since the HD output has a wider aspect ratio than the LCD panel.

Like the Rebel XS before it, the Canon T3 relies on its modestly sized 2.7-inch color LCD screen for all user interaction. This makes for a clear, highly visible user interface, but probably does contribute to slightly shorter battery life, since the LCD has to be fired up any time you want to change anything beyond the most basic settings. (Exposure mode, aperture, shutter speed, exposure compensation, and exposure lock are the only things that can be configured without using the rear-panel display). One feature we miss from Canon"s mode advanced models that"s missing from the XS is the infrared proximity sensor that turns off the LCD screen when you hold the camera up to your eye. It would not only conserve battery life, but would also reduces glare from the LCD when using the optical viewfinder. The Rebel XS instead disables the LCD when the shutter button is half-depressed. (You can optionally leave it on until the DISP or Set button is pressed.)

Overall, the control layout places a few main controls (Power switch, Shutter button, Main dial, Mode dial, and Flash button) on the right side of the Canon T3"s top panel, with most of the other controls on the back of the camera. Let"s take a closer look at some of the user-interface elements:

There are four Screen color options on the Status display, adjustable in the first Settings menu, under Screen Color. The color choices--and indeed, the information layout--on the Canon T3 are pretty radically different from those on the XS. I found myself preferring the default color scheme (top left in the group of shots above) in the daytime, thanks to its strong contrast. Color scheme 4 (bottom right) was similarly useful for shooting at night, reducing the contrast just slightly so as not to tire my eyes.

Whatever exposure parameter is currently being controlled by the Canon T3"s Main Dial is highlighted with arrows in the corners of its box, to indicate that it can be changed by rotating the dial. Here, we"re adjusting the shutter speed, marked by the outlined box. Note the arrows. (They"re pretty subtle; we would have liked to see them a bit more prominent.)

The rear-panel display on the Canon T3 is also used for Canon"s Quick Control menu system, first introduced in the Rebel T1i. As with the later T2i model, though, nstead of using the SET button to enter the Quick Control menu, there"s a Quick Control button dedicated to this purpose. Regardless of whether the LCD display was active or disabled, pressing the Quick Control button on the Canon T3 while in capture mode takes you to the Quick Control menu system, where you can adjust various settings shown on the rear-panel display. You navigate between the various setting options with the arrow keys, and the chosen setting will be highlighted as shown above. Once a setting has been selected, you can change it either by rotating the Canon T3"s Main Dial, or by pressing the SET button, and then using the arrow keys to choose from the available options. The Quick Control menu is dismissed with a second press of the Quick Control button.

Pressing any of the arrow keys to the right of the Canon T3"s LCD screen (if available in the current exposure mode), or the Set button while making changes in the Quick Menu, immediately brings up a screen for the exposure parameter associated with that button. Once the option screen is displayed, you can use either the arrow keys or the Main Dial to scroll the cursor highlight through the options presented. You can continue to press the same arrow-key button, or turn the Main Dial in the same direction, and the highlight will scroll through all the options, wrapping around when it gets to the end of the list. When you"ve made the choice you want, pressing Canon T3"s Set button confirms it and returns you to the main shooting display or Quick Menu, as appropriate.

Like the Rebel XS, the Canon T3 shows each image as it"s captured, though you can turn off this function through the Record menu. The display mode in Record Review defaults to the same as was last used in Playback mode, or you can hit the DISP button to cycle to a different mode. Likewise, in Playback mode, you can cycle between the available display options by pressing the Canon T3"s DISP button repeatedly. (Display mode selection is persistent across both record and playback modes, no matter which mode you make the selection in.) You can also select between the normal luminance-based histogram and the RGB histogram option via a Playback-mode menu item. The screenshots below show the various displays and options available.

This is the default display in playback mode. The folder and file number is displayed upper right, and the shutter speed, aperture, and exposure compensation (if applicable) in the upper left, while the file sequence number and quality are shown below left.

The Canon T3"s third playback display option shows both RGB and luminance histograms side by side, along with an intermediate level of exposure information. If there are any blown highlights, they"ll blink in this mode.

The final playback display option is image with no overlay. Since the T3"s screen doesn"t match the aspect ratio of its images, this still leaves a bar at the top of the image with the shutter speed, aperture, exposure compensation (if applicable), folder numbre, and file number.

If you press the Zoom Out button while viewing a single image on the LCD screen, it"ll take you first to a 4-image thumbnail display, and then to a 9-image one, if you press it once again. The arrow keys let you navigate among the thumbnail images. The text above the thumbnails displays the same basic exposure info for the currently-selected image as does the default single-image display. Pressing the DISP button in this mode overlays the image size/quality and file number for the currently selected image, as in normal playback mode.

By turning the Main dial on the Canon T3 in Playback mode, you can "jump" through images in a variety of ways. An option on the Playback menu sets options of jumping through images 1, 10, or 100 images at a time, between shots captured on different dates or stored in different folders, between groups of movies, or groups of still shots. You can also jump between images by rating, either viewing only rated images, only unrated images, or only those with a specific rating. The jump menu setting only applies when you"re in single-image playback mode. In thumbnail display mode, the Main Dial always jumps ahead one screen of thumbnails at a time, regardless of the menu setting for the Jump option.

As the Canon tech explained, this process clears the camera of any corrupted data and error messages. It is often caused by cards that are not functioning optimally.

I had been able to push the playback button again and get the settings (Q) menu screen, but now it doesn"t display unless I use the Q button. I was also able to change my focal point or any other settings from the screen, and now I can"t.

Thanks for checking in. I love my 90D too! Sorry you"re experiencing an issue with displaying the settings (Q) menu screen. It"s quite common to get confused with how to enable different screens on the back of your Canon EOS 90D. I get confused all the time, especially because I switch between my 90D, my 5D Mark III, and my EOS R menus and screens.

How to Customize Buttons and Dials on Canon 90DAlthough the playback button can be set to toggle between the most recent capture and the Quick menu screen or the electronic level, it can"t be customized in the menu using the "customize dials and buttons" option within the menu. See the photo below.

Camera failures can happen anytime. Even the high-end Nikon, Sony or Canon cameras are not devoid of malfunctions. Sometimes it is a digital camera sensor problem, pictures showing black screen, or just your camera falling into water leaving you in a fix!

Here we have listed 12 common camera problems and their solutions. You can apply the troubleshooting methods in various types of digital cameras, DSLRs, SLRs, etc. The solutions cover all popular brands of Nikon, Fuji, Sony, Canon, Panasonic, Kodak, Olympus and other.

Once everything is in place, press the power button to turn on the camera. If still, your camera doesn"t turn on, the battery could be faulty and need replacement.

Download Stellar Photo Recovery software to retrieve lost or deleted photos and videos from SD card. The software supports all types of memory cards used in Nikon, Canon, Sony, Fuji, etc.

The error message, "Error. Press shutter release button again" on digital camera LCD is often a hardware issue. The gear motor of the Shutter either gets tight, damaged or contaminated with dust. Lubricating the gear motor can help. If your digital camera is under warrantee, turn to the dealer for replacement or repair. Don"t open it yourself.

Use back-button focus technique in which the shutter release takes the shot while a button (AF-ON or AE AF lock) on the back locks the focus. Hold the back button continuously while taking a shot. And as soon as you take off your finger from the back button, the focus gets locked.

The lens error messages can freeze your camera. Even turning it off and on won"t help. Usually, a lens error occur when the lens has dirt or it is not fitted properly on the camera.

Battery errors such as "cannot communicate with battery" or incompatible battery error" on Canon, Sony or Nikon DSLRs are reported by many users. It usually appears when your batteries are not connected properly; there is dust in the battery terminals/ compartment; or the battery is damaged.

A funny thing happened to me recently while I was overseas on a photo-shoot. I lost the electronic level display on the LCD of my Canon EOS 5DS R camera when shooting in Live View.

Everything I checked seemed to be in order but for some reason, the electronic display was not showing up on Live View. It still worked on the LCD monitor without Live View though and in the viewfinder.

Let’s get one thing out of the way in the first sentence. If you’re here to understand the mysteries of thermal flow in the Canon R5 I can tell you everything I know without doing a teardown: It’s small, it’s weather-sealed, and photo-body cameras have limited ability to get heat out of the camera.

I always speculate some, but I’ll try to be clear about ‘this is what I know’ and ‘this is what I speculate.’ For example, two years ago, we tore down the first EOS R. I showed that there was a big empty space in the camera, about the size of an IBIS unit. That was what I knew. Then I speculated that Canon would NOT put IBIS in their mirrorless cameras because they were so into lens IS.

The camera looks pretty much like the other Canon cameras with the battery door off. That’s the connector for the WFT-R10 wireless transmitter, which is cool: It functions as a 2-battery grip plus provides ethernet as well as wireless connectivity, connecting up to 10 cameras to a server. This is not something I’m interested in myself; the onboard wireless is all I ever need. It seems a cool, albeit expensive, option for high-powered professional-type people.

The battery door itself gives us our first pleasant surprise. In every camera, the battery door is a weak area for leakage. There’s usually some weather-resistant gaskets around the edge, which the Canon R5 has. In addition, the entire flat surface is soft gasket material in addition to the raised gaskets around the edges and hinge area.

The key to taking off the grips, for those of you doing your own disassembly at home, is to keep as much of the double-sided tape on the grip as you can, which makes it easier to reapply. The grip material surface feels slightly different than earlier models to the touch, but it’s about the same thickness and flexibility.

The inside of the bottom plates shows us a new thing! We’re used to seeing a bead of rubber felt between the plastic pieces of the body to seal for the weather. Canon now has a soft rubber gasket along the mating edge of the pieces. This is much larger and provides a greater seal area than what we usually see. It seems to be attached to the body (in the old days, I would have said ‘vulcanized’) rather than being glued on.

The I/O side comes off next, and again we see that big rubber lip sealing the entire piece. Also, note that both the HDMI and digital out ports are part of the main PCB, so secure your cables; tugging these ports loose will be an expensive main PCB replacement.

OK, enough with weather sealing. You know weather sealing is outside my circle of trust, but I might put this within the rhomboid of reduced suspicion. I write off too many cameras from water damage every year to really trust weather sealing. This is good, but weather sealing isn’t about where it is good; it’s about where it can leak.

The back has more dials than the original R,but the LCD wiring appears identical; nothing much to see here. Except for the new, coppery colored flex they’re using on the LCD side, but not the switch side. I don’t know why the new flex material, but it is pretty.

Now we can look into the camera and see the back of the circuit boards. This is immensely more intense and dense circuitry than we saw in the R. First of all, there’s a green sub-board that appears to be about DC power conversion. You can see some hefty wires entering it from the battery compartment. The larger, square chips are TPH8R903NL voltage converters. Over to the left on the black board, the large white chip is a Canon WiFi chip with what looks like an antenna plugging in just above it.

I’ll indulge in my flex fetish and show you a closeup of ‘the argyle flex’. We actually decorate our office with large printed macros of pretty flexes and circuit boards. Yes, I know I need some counseling.

Anyway, with the viewfinder out, the top assembly comes off. Not much different, other than the number of buttons and dials, from the other R top assemblies. Except they’ve put all the connections between the top and motherboard in a single flex; usually, there are several. There is also, compared to the main part of the camera body, a bit of air up here.

We took off the tripod plate next (note, we had to take off that top heat sink before the tripod plate, so they are indeed connected). Notice the tripod socket is screwed, not soldered, to the plate, so it’s easy to replace.

As long as we’re looking around the edges, I should show you the battery door switch, since people have been having a grand old time stuffing things in there to make the camera think its door is staying shut. This is a small, frail switch soldered directly to the motherboard and only held on by the solder. I have it on very good authority (my own) that it’s easy to dislodge the switch from the circuit board with just a little bit of torque, requiring a complete mainboard replacement, which is very pricey.

Removing this shows another thermal pad underneath the CPU. So it seems Canon is sending the heat from the SDRAM chips to one sink, and from the CPU to another. To some degree. (Get it? Degree?)

Going back to the camera, we get to see the back of the sensor / IBIS assembly and the huge flexes leaving there, as well as the shutter mechanism between the sensor and the battery compartment.

The sensor assembly is held in by three screws. As you can probably see, Canon has changed to shimming the sensor for flatness (in the R they used spring tension screws). Spring tension screws can theoretically be more accurate (depending on how accurately they measure), but I assume the vibration of an IBIS unit could loosen them over time; every IBIS camera we’ve opened uses shims.

With the shutter out, the chassis really has nothing left inside but the lens mount, battery case, and a few connection traces. You know something I’ve found interesting in all the jumping-to-conclusions about heat inside the Canon R5? Not one person has tested the heat conductivity of the chassis. (Spoiler alert: it doesn’t conduct heat well.)

We can’t get an exact glass measurement without taking the sensor apart, and we have a bad habit of breaking glass when we do that, so it will have to wait for the first Canon R5 to die for a more accurate measurement. We estimated the total (including the front piece) at about 2mm, which is Canon standard.

On all the edges of the Canon unit, the sensor is mounted directly to IBIS plate; no tabs. That doesn’t mean it can’t break, of course, or glue come loose. But this seems sturdier to me.

Given how tightly sealed things are, I’m curious as to where the heat goes to get out of the camera; some further investigation is required there. A lot of people are talking about how the heat should move around inside the camera, slapping some thermal paste around, and doing things to manipulate the heat cut offs.

The third and fourth generation A7 cameras, as well as the A9 series, have a built-in viewfinder and a tilting LCD screen on the rear with touch capabilities. There are several settings you can configure to get the most out of your EVF and monitor. Let’s take a look at them.

If you choose Setting Effect ON, the monitor and viewfinder will show you the real exposure of your scene, meaning it will preview the effect of your shutter speed, aperture, ISO and exposure compensation settings. Other parameters such as the Creative Style (colour profiles) and White Balance are also represented.

If you choose Setting Effect OFF, the camera will ignore your exposure parameters and give you optimal brightness and colours for the EVF or LCD screen, no matter the situation you’re working in. The word VIEW appears on the screen. You have to keep an eye on the metering indicator and make sure you’re using the right settings.

There are times where you want to have the best brightness possible to see what’s going in your scene, regardless of the exposure settings used. For example when working in a studio with flash, the exposure preview might be too dark because the flash emits light only when you take the photograph. Other situations where you may want Setting Effect Off is for birds in flight and astro-photography.

The next thing to look at is a dedicated button that controls the two screens of your camera (LCD and EVF): the DISP button. You can find it on the rear, on top of the control wheel.

If you press it repeatedly, you’ll see that the amount of information overlaying the LCD or EVF changes. By default the camera should show you the live view of your scene with lots of information around the four edges.

Note: the information displayed is independent for the LCD and viewfinder. For example, if you activate the histogram in the viewfinder of your A7 III, it won’t appear on the LCD screen automatically unless you press the DISP button while working with the rear monitor.

Overall there is a lot of information that can appear on the screen but there is one that won’t show. You can’t display the focal length on your A7 III or other A7 cameras. The only time this information appears on the LCD or EVF is when using a Sony Power Zoom lens such as the 18-105mm f4 G.

Blackout means that when you take a picture, the EVF goes black for an instant while the exposure is being recorded. You can notice the same thing on the rear LCD screen. This happens with the mechanical, first electronic curtain and electronic shutter.

Blackouts are visible in single shot mode and in continuous mode up to 8fps (Hi setting). With the latter, the camera alternates blackouts with live view. If you set the highest drive speed of 10fps (Hi+), the live view is disabled and the camera shows you the last images taken instead. This also eliminates the LCD / EVF blackout, but you’re seeing what has just happened rather than what it is happening, so there is a lag between your scene and what is shown on the screen.

The Sony A9 and A9 series work in a different way. Thanks to their stacked sensor and superior processing speed capabilities, the cameras can maintain an uninterrupted live view when using the Silent Shooting mode (electronic shutter). There are no blackouts either because the cameras have enough power to maintain live view while recording the images. This is valid in single and continuous mode up to 20fps.

When you bring the camera to your eye, a dedicated sensor on top of the EVF (eye sensor) can disable the monitor and activate the viewfinder automatically. When you move the camera away from your face, the viewfinder is disabled and live view goes back to the LCD screen.

With High, the quality of the LCD and EVF increases because the resolution increases. In other words, the EVF and LCD use the full resolution available whereas with Normal, it drops to preserve more battery life.

I always turn this off because I prefer to go back to live view as soon as possible after taking a shot. If you prefer, you can have the image you just captured appear on the EVF or LCD for a set duration (2s to 10s).

When recording video with a S-Log or HLG profile, enabling the Gamma Disp. Assist makes the image preview on the LCD or EVF appear with natural contrast and colours, as opposed to the flat and desaturated look of an S-Log gamma curve.

The magnification assist also works in AF-S mode. Once magnified, you can half press the shutter button (or press the back focus button) to focus while you are in magnification mode. A green cross in the middle of the screen will confirm that focus is acquired.

Peaking can be easier to use when the live view is in Black and White. Unfortunately there isn’t a setting to make the EVF or LCD monochrome. The workaround is to select the B&W Creative Style (Camera Settings 1, page 12/14) and turn On Setting Effect for the Live View Display (Camera Settings 2, page 7/9). This works if you’re shooting RAW files because they are not affected by the Creative Style settings. If you’re shooting JPGs, this is not ideal because you’ll end up with B&W images!

There is no touch shutter mode on the A7 III or other E-mount full frame cameras for example. This is curious because Sony implemented this functionality onto the old a5100 APS-C camera and also the recent a6400. Why they haven’t implemented touch shutter on all compatible models remains an enigma.

If you’re connecting your A7 III to an external recorder, or want to monitor your composition without distractions, make sure that the camera doesn’t embed the setting information you see on the LCD screen, but rather gives you a clean video output.

For an external recorder, there are additional settings (excluding the A7 I series):Turn the TC Output (TimeCode) On or Off depending on your needs. This is a bit advanced if you’re just starting out, so if in doubt leave it off.

The rear LCD of the camera should remain active, and you should see the clean video feed on the external recorder connected to your A7 III. From there, you need to set up the recording on the external device. Refer to the manual of the specific model you are using.

Note: when your Sony A7 III is connected to the external recorder, the LCD screen of the camera can go black when triggering the recording from the camera.

If you want to replicate the exact view you get on the rear LCD of your camera, including all the information on the screen, turn On the HDMI Info. Display. The rear LCD of your camera will turn off and you can work with the external monitor instead.

For the last two years I’ve primarily used Canon’s astro-friendly and red-sensitive EOS Ra mirrorless, a model sadly discontinued in September 2021 after just two years on the market. I reviewed that camera in the April 2020 issue of Sky & Telescope magazine, with a quick first look here on my blog.

The superb performance of the Ra has prompted me to stay with the Canon mirrorless R system for future camera purchases. Here I test the mid-priced R6, introduced in August 2020.

NOTE: In early November 2022 Canon announced the EOS R6 MkII, which one assumes will eventually replace the original R6 once stock of that camera runs out. The MkII has a 24 Mp sensor for slightly better resolution, and offers longer battery life. But the main improvements over the R6 is to autofocus accuracy, a function of little use to astrophotographers. Only real-world testing will tell if the R6 MkII has better or worse noise levels than the R6, or has eliminated the R6’s amp glow, reported on below.

The Canon R6 has proven excellent for astrophotography, exhibiting better dynamic range and shadow recovery than most Canon DSLRs, due to the ISO invariant design of the R6 sensor. It is on par with the low-light performance of Nikon and Sony mirrorless cameras.

The preview image is sensitive enough to allow easy framing and focusing at night. The movie mode produces usable quality up to ISO 51,200, making 4K movies of auroras possible. Canon DSLRs cannot do this.

Canon’s first full-frame mirrorless camera, the 30-megapixel EOS R, was introduced in late 2018 to compete with Sony. As of late-2021 the main choices in a Canon DSLM for astrophotography are either the original R, the 20-megapixel R6, the 26-megapixel Rp, or the 45-megapixel R5.

The new 24-megapixel Canon R3, while it has impressive low-noise performance, is designed primarily for high-speed sports and news photography. It is difficult to justify its $6,000 cost for astro work.

I have not tested Canon’s entry-level, but full-frame Rp. While the Rp’s image quality is likely quite good, its small battery and short lifetime on a single charge will be limiting factors for astrophotography.

Meanwhile, the original EOS R, while having excellent image quality and features, is surely destined for replacement in the near future – with a Canon EOS R Mark II? The R’s successor might be a great astrophoto camera, but with the Ra gone, I feel the R6 is currently the prime choice from Canon, especially for nightscapes.

But the R6 has a trick up its sleeve for framing nightscapes. Switch the Mode dial to Movie, and set the ISO up to 204,800 (or at night just dial in Auto ISO), and with the lens wide open and shutter on 1/8 second (as above), the preview image will brighten enough to show the Milky Way and dark foreground, albeit in a noisy image. But it’s just for aiming and framing.

The R6 will also autofocus down to a claimed EV -6.5, allowing it to focus in dim light for nightscapes, a feat impossible in most cameras. In practice with the Canon RF 15-35mm lens at f/2.8, I found the R6 can’t autofocus on the actual dark landscape, but it can autofocus on bright stars and planets (provided, of course, the camera is fitted with an autofocus lens).

In manual focus, an additional Focus Aid overlay provides arrows that close up and turn green when in focus on a bright star or planet. Or you can zoom in by 5x or 10x to focus by eye the old way by examining the star image. I wish the R6 had a 15x or 20x magnification; 5x and 10x have long been the Canon standards. Only the Ra offered 30x for ultra-precise focusing on stars.

In all, the ease of framing and focusing will be the major improvement you’ll enjoy by moving to any mirrorless, especially if your old camera is a cropped-frame Canon Rebel or T3i! But the R6 particularly excels at ease of focusing and framing.

Each generation of camera also improves the signal-to-noise ratio by suppressing noise via its sensor design and improved signal processing hardware and firmware. The R6 uses Canon’s latest DIGIC X processor shared by the company’s other mirrorless cameras.

In noise tests comparing the R6 against the Ra and Canon 6D Mark II, all three cameras showed a similar level of noise at ISO settings from 400 up to 12,800. But the 6D Mark II performed well only when properly exposed. Both the R6 and Ra performed much better for shadow recovery in underexposed scenes.

Or it could be that the R6 isn’t as low noise as it should be for a 20 megapixel camera. But it is as good as it gets for Canon cameras, and that’s very good indeed.

The flaw in many Canon DSLRs, one documented in my 2017 review of the 6D Mark II, was their poor dynamic range due to the lack of an ISO invariant sensor design.

The R6, as with Canon’s other R-series cameras, has largely addressed this weakness. The sensor in the R6 appears to be nicely ISO invariant and performs as well as the Sony and Nikon cameras I have used and tested, models praised for their ISO invariant behaviour.

To test the R6, I shot sets of images at the same shutter speed, one well-exposed at a high ISO, then several at successively lower ISOs to underexpose by 1 to 5 stops. I then brightened the underexposed images by increasing the Exposure in Camera Raw by the same 1 to 5 stops. In an ideal ISO invariant sensor, all the images should look the same.

However, to be clear, ISO invariant behaviour doesn’t help you as much if you underexpose by using too short a shutter speed or too small a lens aperture. I tested the R6 in series of images underexposed by keeping ISO the same but decreasing the shutter speed then the aperture in one-stop increments.

Thermal noise is more insidious and harder to eliminate in post without harming the image. However, Monika Deviat offers a clever method here at her website.

As with the EOS Ra, and all mirrorless cameras, the R6 has no “dark frame buffer” that allows several exposures to be taken in quick succession even with LENR on. Canon’s full-frame DSLRs have this little-known buffer that allows 3, 4, or 5 “light frames” to be taken in a row before the LENR dark frame kicks in a locks up the camera on Busy.

With all Canon R cameras, and most other DSLRs, turning on LENR forces the camera to take a dark frame after every light frame, doubling the time it takes to finish every exposure. That’s a price many photographers aren’t willing to pay, but on warm nights it can be necessary, and a best practice, for the reward of cleaner images.

Canons have always been known for their good star colours, and the R6 is no exception. According to DPReview the R6 has a low-pass anti-alias filter in front of its sensor. Cameras which lack such a sensor filter do produce sharper images, but stars that occupy only one or two pixels might not de-Bayer properly into the correct colours. That’s not an issue with the R6.

I also saw no “star-eating,” a flaw Nikons and Sonys have been accused of over the years, due to aggressive in-camera noise reduction even on raw files. Canons have always escaped charges of star-eating.

I saw this type of amp glow with the Sony a7III, a flaw eventually eliminated in a firmware update that, I presume, turned off unneeded electronics in long exposures.

Amp glow is something I have not seen in Canon cameras for many years. In a premium camera like the R6 it should not be there. Period. Canon needs to fix this with a firmware update.

The R6 I bought was a stock “off-the-shelf” model. It is Canon’s now-discontinued EOS Ra model that is (or was) “filter-modified” to record a greater level of the deep red wavelength from red nebulas in the Milky Way. Compared to the Ra, the R6 did well, but could not record the depth of nebulosity the Ra can, to be expected for a stock camera.

TIP:Buying a used Canon Ra (if you can find one) might be one choice for a filter-modified mirrorless camera, one much cheaper than a full frame cooled CMOS camera such as a ZWO ASI2400MC. Or Spencer’s Camera sells modified versions of all the R series cameras with a choice of sensor filters. But I have not used any of their modded cameras.

A concern of prospective buyers is whether the R6’s relatively low 20-megapixel sensor will be sharp enough for their purposes. R6 images are 5472 by 3648 pixels, much less than the 8000+ pixel-wide images from high-resolution cameras like the Canon R5, Nikon Z7II or Sony a1.

TIP:Adobe now offers (in Lightroom and in Camera Raw) a Super Resolution option, that users might think (judging by the rave reviews on-line) would be the answer to adding resolution to astro images from “low-res” cameras like the R6.

Canon now offers the option of shooting either RAW or cRAW files, the latter being the same megapixel count but compressed in file size by almost a factor of two. This allows shooting twice as many images before card space runs out, perhaps useful for shooting lots of time-lapses on extended trips away from a computer.

The R6 uses a new version of Canon’s standard LP-E6 battery, the LP-E6NH, that supports charging through the USB-C port and has a higher 2130mAh capacity than the 1800mAh LP-E6 batteries. However, the R6 is compatible with older batteries.

On warm nights, I found the R6 ran fine on one battery for the 3 to 4 hours needed to shoot a time-lapse sequence, with power to spare. However, as noted below, the lack of a top LCD screen means there’s no ongoing display of battery level, a deficiency for time-lapse and deep-sky work.

TIP:Putting the camera into Airplane mode (to turn off WiFi and Bluetooth), turning off the viewfinder, and either switching off or closing the rear screen all helps conserve power. The R6 does not have GPS built in. Tagging images with location data requires connecting to your phone.

The R6 can shoot at a dragged shutter speed as slow as 1/8-second – good, though not as slow as the Sony’s 1/4-second slowest shutter speed in movie mode. That 1/8-second shutter speed and a fast f/1.4 to f/2 lens are the keys to shooting movies of the night sky. Only when auroras get shadow-casting bright can we shoot at the normal 1/30-second shutter speed and at lower ISOs.

As with Nikons (but not Sonys), the Canon R6 saves its movie settings separately from its still settings. When switching to Movie mode you don’t have to re-adjust the ISO, for example, to set it higher than it might have been for stills, very handy for taking both stills and movies of an active aurora, where quick switching is often required.

However, the R6 offers the option of a “Movie Crop” mode. Rather than taking the 4K movie downsampled from the entire sensor, this crop mode records from a central 1:1 sampled area of the sensor. That mode can be useful for high-magnification lunar and planetary imaging, for ensuring no loss of resolution. It worked well, producing videos with less pixelated fine details in test movies of the Moon.

Shooting in the R6’s Canon cLog3 profile records internally in 10-bit, preserving more dynamic range in movies, up to 12 stops. During eclipses, that will be a benefit for recording totality, with the vast range of brightness in the Sun’s corona. It should also aid in shooting auroras which can vary over a huge range in brightness.

TIP:Processing cLog movies, which look flat out of camera, requires applying a cLog3 Look Up Table, or LUT, to the movie clips in editing, a step called “colour grading.” This is available from Canon, from third-party vendors or, as it was with my copy of Final Cut Pro, might be already installed in your video editing software. When shooting, turn on View Assist so the preview looks close to what the final graded movie will look like.

In one test, I shot a time-lapse from twilight to darkness with the R6 in Aperture Priority auto-exposure mode, of a fading display of noctilucent clouds. I just let the camera lengthen the shutter speed on its own. It tracked the darkening sky very well, right down to the camera’s maximum exposure time of 30 seconds, using a fish-eye lens at f/2.8. This demonstrated that the light meter in the R6 was sensitive enough to work well in dim light.

The R6 has no such option but doesn’t seem to need it. The exposure did fail at the very end, when the shutter reached its maximum of 30 seconds. If I had the camera on Auto ISO, it might have started to ramp up the ISO to compensate, a test I have yet to try. Even so, this is impressive time-lapse performance in auto-exposure.

The R6, like the low-end Rp, lacks a top LCD screen for display of camera settings and battery level. In its place we get a traditional Mode dial, which some daytime photographers will prefer. But for astrophotography, a backlit top LCD screen provides useful information during long exposures.

However, the port is Canon’s low-grade 2.5mm jack. It works, and is a standard connector, but is not as sturdy as the three-pronged N3-style jack used on Canon’s 5D and 6D DSLRs, and on the R3 and R5. Considering the cost of the R6, I would have expected a better, more durable port. The On/Off switch also seems a bit flimsy and easily breakable under hard use.

These deficiencies provide the impression of Canon unnecessarily “cheaping out” on the R6. You can forgive them with the Rp, but not with a semi-professional camera like the R6.

Unlike the Canon R and Ra (which still mysteriously lack a built-in interval timer, despite firmware updates), the R6 has one in its firmware. Hurray! This can be used to set up a time-lapse sequence, but on exposures only up to the maximum of 30 seconds allowed by the camera’s shutter speed settings, true of most in-camera intervalometers.

Like all Canon cameras, the R6 can be set to take only up to 99 frames, not 999. That seems a dumb deficiency. Almost all time-lapse sequences require at least 200 to 300 frames. What could it possibly take in the firmware to add an extra digit to the menu box? It’s there at in the Time-lapse Movie function that assembles a movie in camera, but not here where the camera shoots and saves individual frames. It’s another example where you just can’t fathom Canon’s software decisions.

TIP:If you want to shoot 100 or more frames, set the Number of Frames to 00, so it will shoot until you tell the camera to stop. But awkwardly, Canon says the way to stop an interval shoot is to turn off the camera! That’s crude, as doing so can force you to refocus if you are using a Canon RF lens. Switching the Mode dial to Bulb will stop an interval shoot, an undocumented feature.

As with most recent Canon DSLRs and DSLMs, the menu also includes a Bulb Timer. This allows setting an exposure of any length (many minutes or hours) when the camera is in Bulb mode. This is handy for single long shots at night.

However, it cannot be used in conjunction with the Interval Timer to program a series of multi-minute exposures, a pity. Instead, a separate outboard intervalometer has to be used for taking an automatic set of any exposures longer than 30 seconds, true of all Canons.

In Bulb and Bulb Timer mode, the R6’s rear screen lights up with a bright Timer readout. While the information is useful, the display is too bright at night and cannot be dimmed, nor turned red for night use, exactly when you are likely to use Bulb. The power-saving Eco mode has no effect on this display, precisely when you would want it to dim or turn off displays to prolong battery life, another odd deficiency in Canon’s firmware.

The Timer display can only be turned off by closing the flip-out screen, but now the viewfinder activates with the same display. Either way, a display is on draining power during long exposures. And the Timer readout lacks any indication of battery level, a vital piece of information during long shoots. The Canon R, R3 and R5, with their top LCD screens, do not have this annoying “feature.”

The R6 offers a menu option present on many recent Canon cameras: Multiple Exposure. The camera can take and internally stack up to 9 images, stacking them by using either Average (best for reducing noise) or Bright mode (best for star trails). An Additive mode also works for star trails, but stacking 9 images requires reducing the exposure of each image by 3 stops, say from ISO 1600 to ISO 200, as I did in the example below.

The result of the internal stacking is a raw file, with the option of also saving the component raws. While the options work very well, in all the cameras I’ve owned that offer such functions, I’ve never used them. I prefer to do any stacking needed later at the computer.

Being a mirrorless camera, there is no reflex mirror to introduce vibration, and so no need for a mirror lockup function. The shutter can operate purely mechanically, with physical metal curtains opening and closing to start and end the exposure.

However, the default “out of the box” setting is Electronic First Curtain, where the actual exposure, even when on Bulb, is initiated electronically, but ended by the mechanical shutter. That’s good for reducing vibration, perhaps when shooting the Moon or planets through a telescope at high magnification.

In Mechanical, the physical curtains both start and end the exposure. It’s the mode I usually prefer, as I like to hear the reassuring click of the shutter opening. I’ve never found shutter vibration a problem when shooting deep sky images on a telescope mount of any quality.

In Mechanical mode the shutter can fire at up to 12 frames a second, or up to 20 frames a second in Electronic mode where both the start and end of the exposure happen without the mechanical shutter. That makes for very quiet operation, good for weddings and golf tournaments!

Being vibration free, Electronic shutter might be great during total solar eclipses for rapid-fire bursts at second and third contacts when shooting through telescopes. Maximum exposure time is 1/2 second in this mode, more than long enough for capturing fleeting diamond rings.

Longer exposures needed for the corona will require Mechanical or Electronic First Curtain shutter. Combinations of shutter modes, drive rates (single or continuous), and exposure bracketing can all be programmed into the three Custom Function settings (C1, C2 and C3) on the Mode dial, for quick switching at an eclipse. It might not be until April 8, 2024 until I have a chance to test these features. And by then the R6 Mark II will be out!

TIP:While the R6’s manual doesn’t state it, some reviews mention (including at DPReview) that when the shutter is in fully Electronic mode the R6’s image quality drops from 14-bit to 12-bit, true of most other mirrorless cameras. This reduces dynamic range. I would suggest not using Electronic shutter for most astrophotography, even for exposures under 1/2 second. For longer exposures, it’s a moot point as it cannot be used.

TIP:The R6 has the same odd menu item that befuddles many a new R-series owner, found on Camera Settings: Page 4. “Release Shutter w/o Lens” defaults to OFF, which means the camera will not work if it is attached to a manual lens or telescope it cannot connect to electronically. Turn it ON and all will be solved. This is a troublesome menu option that Canon should eliminate or default to ON.

The little Multi-Function (M-Fn) button is a worth getting used to, as it allows quick access to a choice of five important functions such as ISO, drive mode and exposure compensation. However, the ISO, aperture and shutter speed are all changeable by the three scroll wheels.

Unlike Sonys, the R6 has no dedicated Custom buttons per se. However, it does offer a good degree of customization of its buttons, by allowing users to re-assign them to other functions they might find more useful than the defaults. For example ….

The new wider RF mount accepts only Canon and third-party RF lenses. However, all Canon and third-party EF mount lenses (those made for DSLRs) will fit on RF-mount bodies with the aid of the $100 Canon EF-to-RF lens adapter.

This adapter will be necessary to attach any Canon R camera to a telescope equipped with a standard Canon T-ring. That’s especially true for telescopes with field flatterers where maintaining the standard 55mm distance between the flattener and sensor is critical for optimum optical performance.

The extra spacing provided by a mirrorless camera has the benefit of allowing a filter drawer to be inserted into the light path. Canon offers a $300 lens adapter with slide-in filters, though the choice of filters useful for astronomy that fit Canon’s adapter is limited. AstroHutech offers a few IDAS nebula filters.

Clip-in filters made for the EOS R, such as those offered by Astronomik, will also fit the R6. Though, again, most narrowband filters will not work well with an unmodified camera.

TIP:Alternatively, AstroHutech also offers its own lens adapter/filter drawer that goes from a Canon EF mount to the RF mount, and accepts standard 52mm or 48mm filters. It is a great way to add interchangeable filters to any telescope when using an R-series camera, while maintaining the correct back-focus spacing. I use an AstroHutech drawer with my Ra, where the modified camera works very well with narrowband filters. Using such filters with a stock R6 won’t be as worthwhile, as I showed above.

As of this writing, the selection of third-party lenses for the Canon RF mount is limited, as neither Canon or Nikon have “opened up” their system to other lens makers, unlike Sony with their E-mount system. For example, we have yet to see much-anticipated RF-mount lenses from Sigma, Tamron and Tokina.

Samyang offers 14mm and 85mm auto-focus RF lenses, but now only under their Rokinon branding. I tested the Samyang RF 85mm f/1.4 here at AstroGearToday.

The few third-party lenses that are available, from TTArtisan, Venus Optics and other boutique Chinese lens companies, are usually manual focus lenses with reverse-engineered RF mounts offering no electrical contact with the camera. Some of these wide-angle lenses are quite good and affordable. (I tested the TTArtisan 11mm fish-eye here.)

Until other lens makers are “allowed in,” if you want lenses with auto-focus and camera metadata connections, you almost have to buy Canon. Their RF lenses are superb, surpassing the quality of their older EF-mount equivalents. But they are costly. I sold off a lot of my older lenses and cameras to help pay for the new Canon glass!

I also have reviews of the superb Canon RF 15-35mm f/2.8, as well as the unique Canon RF 28-70mm f/2 and popular Canon RF 70-200mm f/2.8 lenses (a trio making up the “holy trinity” of zooms) at AstroGearToday.com.

Another popular option is the ASIair WiFi controller from ZWO. It controls cameras via one of the ASIair’s USB ports, and not (confusingly) through the Air’s remote shutter jack marked DSLR. Under version 1.7 of its mobile app, the ASIair now controls Canon R cameras and connected to the R6 just fine, allowing images to be saved both to the camera and to the Air’s own MicroSD card.

TIP:While the R6, like many Canon cameras, can be controlled remotely with a smartphone via the CanonConnect mobile app, the connection process is complex and the connection can be unreliable. The Canon app offers no redeeming features for astrophotography, and maintaining the connection via WiFi or Bluetooth consumes battery power.

Allow programming multiple long exposures by combining Interval and Bulb Timer, or by expanding the shutter speed range to longer than 30 seconds, as some Nikons can do.

The extended red sensitivity of the Canon EOS Ra makes it better suited for deep-sky imaging. But with it now out of production (Canon traditionally never kept its astronomical “a” cameras in production for more than two years), I think the R6 is now Canon’s best camera (mirrorless or DSLR) for all types of astrophotography, both stills and movies.

For low-light movies the R6 is Canon’s answer to the Sony alphas. No other Canon camera can do night sky movies as well as the R6. For me, it was the prime feature that made the R6 the camera of choice to complement the Ra.

Now that you’ve filled up your SD card, you want to move all your videos and photos from Canon to your MAC or PC. As you start with the transfer process, you see the Canon camera not connecting to MAC.

A computer has to detect the camera when you want to copy or transfer your files from its memory cards to the PC. But many users face the issue when the MAC or PC fails to recognize and connect to a Canon camera.

The problem, the Canon camera not connecting to computer MAC, can be due to two reasons: hardware problem or software issues. It"s important to know the underlying reason so that you can come up with the best and the right solution.

If you’ve trouble Canon camera not connecting to computer MAC, it might be due to outdated or corrupted USB drivers. Because of this, the macOS or the Canon camera may not be able to detect the USB port.

As your Windows or macOS advances, you need to update associated drivers as well. In the context of connecting with your Canon camera, you"ve to make sure that the external USB on your system is updated.

Otherwise, the USB port won’t be able to recognize any connected device, including your Canon camera. Updating USB drivers help fix many system-related issues and bugs.

Sometimes the issue can be as small as restarting your devices. So, before applying longer solutions, restart your Canon camera and your PC. Shut off your device and wait for a few minutes before turning it on.

If the software program doesn"t start automatically, go to the Start button > All Programs > Canon Utilities > EOS Utility. This is for Windows. If you"re using MAC OS, click the EOS Utility icon in the Dock.

The issue, the Canon camera not connecting to computer MAC or Windows, may arise due to a corrupted or outdated camera driver. So, you’ve to uninstall the driver and then scan the latest updates for the same.

If it"s not the cable, then check your USB port. If your camera doesn"t connect to your PC, then try plugging it again into a different USB terminal. Most PCs and laptops feature multiple USB ports.

If you use a MAC OS as your computer, you’ve to download the proper and compatible applications. This is to ensure that your photographs upload properly from your Canon camera. The first and best way to transfer your photos from Canon to MAC is to use a USB cable. So, make sure you use the right USB drivers on your MAC OS.

Solution 1:The USB or USB-C cable should be properly connecting to your devices – MAC and Canon camera. If one port doesn’t seem to work, try plugging the USB cable into another USB port.

Solution 3: Check your Canon camera for a memory card. It should not be damaged; otherwise, it would prevent the connection between MAC and your camera. Check the documentation that you get with the camera for more details on this problem.

Solution 4: No Other Apps Running: Make sure there are no other applications running on the MAC when you"re trying to connect the Canon camera to your laptop or PC. It"s because other apps can intercept the camera when connecting. So, better avoid it!

So, now you know all possible reasons and solutions to the issue - Canon camera not connecting to computer MAC or Windows. Alternatively, you can also try transferring your photos or videos from the Canon camera to MAC of Windows using a card reader. Most laptops have a built-in SD card slot, or you can buy an external SD card reader.

The Canon C70 was announced on September 24, 2020, and started shipping by the end of 2020. Availability was very low, and backorders were being filled at a snail’s pace. It’s now March 2021, and the EOS C70 is finally available at B&H and many other retail outlets. I’m bringing this up because we here at Newsshooter.com have been waiting to get our hands on one for months. we even signed an NDA and knew it was coming. Canon USA was not very helpful either in getting a preproduction or a sample version, so I would like to say THANK YOU! B&H for sending us a loaner for this better late than never review.

The EOS C70 is a cross between a mirrorless style camera and a cinema camera. This design is something many people wanted, well people actually wanted a hybrid with all the features of a cinema camera, but Canon refused to make that one, yes the new EOS RF mount cameras have much-improved video specifications than the DSLR models in the past, but I/O has always been lacking for video as well as specs. Remember when a simple headphone jack was omitted from cameras?

I’m not a huge fan of shooting video-solely with a mirrorless camera because they need some workarounds since they’re primarily designed for stills. I subscribe to the idea of the right tool for the job. Before you send me hate mail, I understand the need for small higher quality cameras for gimbals, drones, and tight locations. However, making one your primary video camera is just not my cup of tea. I’m actually a coffee drinker.

Holding the C70 with a Canon RF 24-70 F2.8 attached, it has some heft. Not having an EVF also means you will be holding the C70 either mid-chest or close to eye level. This isn’t very easy to do for very long, and you lose the third point of contact for stability. A lens with image stabilization will be needed for handheld shooting to keep the jitter at a minimum.

The included wrist strap is nice and necessary as it helps you hold the camera-less firmly when you want to use the buttons that are close to your fingers, and there are several. Canon did a nice job adding a lot of function buttons all over the C70 body.

Sony has had this set up for some time now and is included in all the mirrorless cameras, including the a6000 line. It’s not perfect, but it sure is handy. Canon could have taken this i