canon lcd panel doesn't shut off supplier

"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.

It doesn"t describe how to disassemble the rear panel but it shouldn"t be too hard. Take great care of any springs so you know how to refit them, make lots of notes about where screws come from, and keep them separate as there may be several sizes. You may find a loose connector, or maybe a ribbon bonded directly to the LCD, in which case a little bit of packing inserted behind it to increase the pressure may be sufficient to fix it.

The Canon PowerShot A720 IS is a compact, lightweight digital camera used primarily for quick point and shoot photography with several photo features and options, such as video recording, red eye reduction, a 2.5 inch LCD screen, 8.0 megapixels and a flash memory slot.

Note: This troubleshooting guide covers general problems with the Canon PowerShot A720 IS so you can identify what is wrong before referring to the repair guide to fix it.

The first thing to check if your digital camera won"t turn on is to press the on/off power button. The power button is located on the top surface of the camera and is the small button on left side of the mode dial. You should feel a slight difference in heights between the button and top surface of the camera when the button is pressed.

You may want to check your 2 AA batteries if your digital camera won"t turn on or turns off on its own. They may be the wrong size or inserted incorrectly if the Canon PowerShot A720 IS won’t turn on. Make sure that they are size AA and that you have the positive terminal end of the battery facing out in the front slot and the negative terminal end facing out in the back slot.

Try replacing your batteries with new ones or with batteries that are fully charged for those that are rechargeable. Low battery power might be the reason why the Canon PowerShot A720 IS turns off on its own.

If the Canon PowerShot A720 IS comes into contact with any type of liquid, you may have to the disassemble the camera into a few major components to let the parts dry in a safe and dry area or carefully place the major components in a bag of dry rice. When the components are completely dry, reassemble and try again.

If the digital camera still doesn"t power on, consider replacing the batteries or the motherboard. The motherboard probably blew a circuit when the liquid came into contact with the motherboard.

If LCD screen on the Canon PowerShot A720 IS displays a blank screen while the camera is powered on, you may want to press the Display button. The function of the Display button is to turn on and off the LCD screen. The button is located next to the LCD screen on the back of the camera and is labeled as DISP. Sometimes the display on the LCD screen shuts off when the camera enters its power saving mode or if the Display button was accidentally pressed.

If the LCD screen is still blank, then it may be due to low battery power. Replace both of the AA batteries with new or fully charged ones, turn the camera on, and press the Display Button.

After you have tried the previous troubleshooting steps and the problem persists, you may want consider the LCD screen repair guide to check for faulty internal wire connections that are connected to the power supply, LCD screen, and the motherboard. If you have replaced the LCD screen and the wires connections are intact after examination, then you may want to replace the motherboard.

When the camera repeatedly becomes unresponsive to user input, wait a few minutes to allow the camera to finish any processes that it may have started. If a significant amount of time passes and the camera is still unresponsive, recycle power by using the on/off button and remove and reload the batteries into the camera. When the Canon PowerShot A720 IS is back on, check to see if the frozen image has been removed.

If the frozen image on the LCD screen is the most recent picture shot, toggle the camera and video recording mode switch up and down. The mode switch is located in the top left corner of the back panel of the camera.

After you have tried the previous troubleshooting steps and the problem persists, you may want consider the LCD screen repair guide to check for faulty internal wire connections that are connected to the power supply, LCD screen, and the motherboard. If you have replaced the LCD screen and the wires connections are intact after examination, then you may want to replace the motherboard.

The lens usually causes flickering LCD screens when the lens focuses on light from a fluorescent light source. Simply turn away or move from the light source or reduce the lighting in the area stop the screen from flickering.

You may have one or many dead pixels if you notice an extremely small black square or many of them scattered across the LCD screen. If you see a large black blot, then your LCD screen is cracked and the liquid portion had spilled onto the glass screen. If either situation occurred, you have no other option than to replace the camera’s LCD screen.

If the Canon PowerShot A720 IS has a dark or faint screen but the digital camera is still operational, then the backlight may have burned out. Unfortunately, there are no LCD screen bright adjustment settings on the settings menu. You may want to verify this by taking the camera apart and replace the LCD screen. If the problem persists, there may be more significant damage to the Canon PowerShot A720 IS associated with the motherboard. Use the motherboard replacement guide to replace the motherboard.

Should a constant and straight bright red or purple line appear either across or vertically, refer to the LCD screen replacement guide to check the wires connections between the motherboard and the LCD and/or replace the LCD screen.

Go to the back panel of the Canon PowerShot A720 IS and press the small button labeled MENU. Use the circular directional pad to navigate through the menu screen. Select settings tab and make sure that the camera is not on mute. If mute is on, turn it off and then on again. Power the digital camera down and restart. If you do not hear the chime or the chime is distorted, then the internal speaker may have some problems.

The battery compartment cover may not be properly shut and locked while operating the camera. Just close the cover securely and restart the camera, and the lens should retract.

The lens housing unit could have some debris in it. You can clean the lens housing unit by first powering the camera off and pressing the plastic lens ring button located on the lower left side of the lens when the camera is facing you. Then carefully unscrew the ring to remove it. Next, carefully wipe the lens housing unit with a dry cloth when the lens is fully extended. Otherwise, the lens could be damaged. Then turn the camera back on and off to see if the lens will retract. If the lens housing unit still does not retract, follow the lens disassembly guide to take apart the lens and carefully wipe again before reassemble.

Initially, use the tweezers to free the shutter button if it is stuck. Carefully apply the tip of one end of the tweezers in the space between the button and the panel and try to get just underneath the button to pop it back in place. Do not force or jam the tweezer if it does not fit in the space. If the button is unable to pop back into its position, replace the spring contact that is associated with that button with the shutter button replacement guide.

When buttons are loose, they may have somehow been disconnected from the their contact spring. Use the shutter button replacement guide to reattach or replace the spring and connect it to the shutter button.

The subject may be out of focal range, hard to focus on, or the camera may have the wrong focal settings if the images appear blurry and out of focus. You may want refer to the Canon PowerShot A720 IS user manual to learn about the different settings.

If you still receive blurry and out of focus images, make sure that you are using the correct zoom setting and allowing the camera to focus on the subject before taking a picture. To focus, press the shutter button only half way down. When you hear the camera finish focusing, you can then completely press down on the shutter button to take the picture.

If the above does not work, you may want to restore the camera back to factory settings and restart the camera and try taking a picture. Again, if the same problem occurs, you may want to check the shutter button and follow the unresponsive shutter button portion of the troubleshooting page. If it is not the button, you may want to replace the check the wires and/or replace the motherboard.

If a problem occurs with the camera, first refer to this Troubleshooting Guide. If this Troubleshooting Guide does not resolve the problem, take the camera to the nearest Canon Service Center.

If (1) the battery charger or battery has a problem or (2) communication with the battery failed (with a non-Canon battery pack), the protection circuit will stop charging, and the charge lamp will blink in orange at a constant high speed. In the case of (1), unplug the charger"s power plug from the power outlet, reattach the battery, wait a few minutes, and then reconnect the power plug to the power outlet. If the problem persists, take the camera to the nearest Canon Service Center.

If the internal temperature of the battery attached to the charger is high, the charger will not charge the battery for safety reasons (lamp off). During charging, if the battery"s temperature becomes high for any reason, charging will stop automatically (lamp blinks). When the battery temperature goes down, charging will resume automatically.

In case of charging problems, the access lamp blinks in green and a protective circuit stops charging. In this case, unplug the power cord, reattach the battery, and wait a few minutes before plugging it in again. If the problem persists, take the camera to the nearest Canon Service Center.

If the power is turned off while an image is being recorded to the card, the access lamp will remain on or continue to blink for a few seconds. When the image recording is complete, the power will turn off automatically.

Even if [Auto power off] is set to [Disable], the screen and viewfinder will still turn off after the camera is left idle for the time set in [Screen off] or [Viewfinder off] (although the camera itself remains on).

Shooting is not possible if the AF point turns orange when you attempt to focus. Press the shutter button halfway again to refocus automatically, or focus manually (, ).

High-speed continuous shooting may be slower depending on the battery level, ambient temperature, flicker reduction, shutter speed, aperture value, subject conditions, brightness, AF operation, type of lens, use of flash, shooting settings, and other conditions. For details, see Selecting the Drive Mode or Still photo file size / Number of possible shots / Maximum burst for continuous shooting.

Estimated maximum burst indicated in the viewfinder does not change when you switch cards, even if you switch to a high-speed card. Maximum burst listed in Still photo file size / Number of possible shots / Maximum burst for continuous shooting is based on the standard Canon test card, and the actual maximum burst is higher for cards with faster writing speeds. For this reason, estimated maximum burst may differ from actual maximum burst.

It may not be possible to record movies during still photo shooting if operations such as extended image display increase the camera"s internal temperature. Turn off the camera or take other measures, and wait until the camera cools down.

If [Communication error Reattach accessory] is displayed, reattach the accessory. In case this message is displayed again after reattachment, make sure the terminals of the multi-function shoe and accessory are clean and dry. If you cannot remove the dirt or moisture, contact a Canon Service Center.

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.

The printer suddenly turns off without warning. A print, copy, scan, or fax job fails because power might be low or the printer is off. The printer does not respond to any job when it is turned off. When the printer is connected to an outlet that supplying low power problem, the printer might turn off repeatedly.

Your HP printer is designed to reduce power consumption when the printer is not active. Auto Power Off or Schedule On and Off enables the printer to turn off after two hours of inactivity. When you are ready to use your printer again, press the Power button to turn the printer back on.

Open the Setup menu, and then click Preferences. Click Schedule Off, Auto Power Off or Auto-off, depending on your printer model, and then change any settings, if necessary.

Having too many other electronic devices connected to your printer might cause your printer to lose power and turn off. Make sure the USB cable runs directly from the computer to the printer.

If the indicator light on the power module is off, or if the power module does not have an indicator light and you have tried all of the preceding solutions, replace the power module.

If the indicator light on the printer is off or if there is no indicator light, and you have tried all the preceding solutions, continue to the next step to Service the printer.

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.

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.

This release came as a pleasant surprise. I’ve wondered for years why the manufacturer didn’t make this feature a default on all their cameras. With the Covid-19 pandemic and many people forced to stay home, Canon decided it was time to finally enable the functionality to support its customers.

The EOS M name in the title refers to the series of cameras (this is how Canon calls it). Unfortunately not all of them are compatible with this feature as of now. Among mirrorless cameras, you can use the EOS M6 Mark II, EOS M50, EOS M200, EOS R, EOS RP, EOS R5 and EOS R6. There are also various DSLRs available. You can check the full list on the Canon website. I hope Canon will continue to update the software to support more cameras, including older models.

Ethics statement: the following is based on my own tests with the Canon EOS RP. We were not asked to write anything about this product, nor were we provided any other compensation of any kind. Within the article, there are affiliate links. If you buy something after clicking one of these links, we will receive a small commission. To know more about our ethics, you can visit our full disclosure page. Thank you!

The software allows your computer to “see” your camera as a video source when connected to the USB port.Go on the Canon website and navigate to the EOS Webcam Utility page

Select Movie Manual exposure with the Q SET button and adjust the exposure settings yourself. A shutter speed of 1/50 (or 1/60 for 30p) will do, and you can set the aperture and ISO accordingly based on how much light you have in the room. If you’re rather not fuss with total manual settings, you can set the ISO to Auto so that the camera manually adjusts the sensitivity, or go fully automatic by choosing Movie Auto exposure.

Make sure that Movie Servo AF is enabled, and select Face/Eye detection. Your Canon will track your face and keep you in focus when you move. This is especially useful if you use a fast aperture such as 1.8 or 2.8 to have more shallow depth of field.

In Set Up Menu, disable the Eco mode and in Power Saving, disable the Auto Power Off. This ensures that your camera doesn’t power off while you’re in the middle of a live video or Skype call.

As of now, you can’t select the Canon cameras for the audio source. It is limited to video, at least on my Mac. This means you can’t use the camera’s built-in microphone, or one connected to the camera’s 3.5mm port.

Your Canon EOS cannot be powered via USB while it is in operation. If you’re planning to do long webcam sessions, I suggest to buy the optional AC adaptor to make sure you don’t run out of juice. The battery life varies depending on the camera of course, but it will drain faster than you think.

This move from Canon is a good first step forward and I hope it will encourage other brands to do the same (Fujifilm has already started, and Panasonic has released something as well although it doesn’t seem as straightforward as the Canon solution). I like the idea of digital cameras becoming webcams when needed without having to buy extra accessories.

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 idea to the next level. Since the C70 has no EVF, Canon could have made one that slides in, connects, and powers directly from the camera. Think of it as the same one in the EOS R5, only in a little box. That would have solved a big issue with the camera for me.

I recently reviewed the PortKeys LEYE EVF and found it a very good option in the $399 price range. To date, I don’t think you can get a better viewfinder for less or equal price. The C70, like the Z Cam or other box cameras, needs monitoring. The touchscreen LCD is great as it adds a few features I like to use, and covering it with a loupe might not be the way to go. With a few bits, I got the LEYE mounted on the C70, and it works very well.

The C70 has a total of 13 assignable buttons. I found them too very helpful, and you have an option to assign them. I never liked to change the buttons with markings on the body, such as the Waveform button with the WFM. It would be confusing. With that said, Canon did an excellent job with a lot of buttons and options.

The C70 doesn’t have a built-in EVF, and that could be an issue, at least it is for me. I would happily pay a little extra and have a slightly larger body to have one instead of adding one and dealing with powering it. Instead, the C70 uses a fully articulating LCD screen with a 3.5-inch (8.8 cm diagonal) color LCD with a 16:9 aspect ratio. It has approx. 2,760,000 dots (1280 x RGB x 720), and a 100% field of view ratio. It also features touch screen operation.

Canon cameras have a huge advantage as the Dual Pixel AF is very good so this takes one of the biggest issues away somewhat as focusing with the touch screen works very well. With that said, it’s fatiguing to looking at such a small screen for longer periods of time.

The touch screen is a good one. On the bottom of the LCD screen is a quick access menu that includes the most used settings. It works really well. You tap the corner, and the menu appears. It doesn’t take up a lot of room or block the image. It’s very handy. When you make the changes, a simple tap and it hides.

The C70 has limited space on the compact body for IO, so Canon had to make some decisions on what it has, and I think they did a great job adding crucial inputs to separate it from a hybrid camera such as two channels of mini XLR and 3.5mm inputs and full-size HDMI. Missing is an SDI port.

While the C70 doesn’t have everything you would find on a mid-tier digital cinema camera, Canon has packed in quite a few input and outputs for this size camera.

Since real estate is hard to come by on the C70, the audio controls are under the LCD screen. I’ll take analog dials and buttons over menu settings for audio any day, so I can’t complain too much about the placement; however, it covers the controls if the LCD is closed. Knowing this, I keep the LCD open during interviews or when shooting for audio in general.

You have several different configurations to choose from when it comes to monitoring the audio. Canon gives you a lot of options, from the simple split 1 & 2 channels to having all four channels separated out in both headphones.

Shooting outside and controlling the depth of field requires ND filters. Variable ND works okay, but nothing compares to a built-in ND on a Cinema Camera. It’s great that Canon was able to incorporate built-in ND into such a small camera. I think the size of the C70 is larger due to having ND, and I feel it’s well worth it.

This is a brand new ND system that was designed specifically to work with the C70. It offers up to 10 stops in its expanded mode. You can activate the ND via the touchscreen or ND buttons on the side of the camera.

The Canon C70 uses the exact same Super35 26.2 x 13.8 mm CMOS sensor as the C300 Mark III and also utilizes the same DGO technology and a Digic DV7 image processor.

The C70 red, green, and blue components have no algorithmic debayering processes. A parallel readout process within the image sensor separately extracts the four individual components, including the two spatially offset green components (green has twice as many spatial samples as the red and blue components). This approach avoids any of the reconstruction errors inevitably associated with algorithmic debayering.

The DGO sensor produces images optimized for HDR by creating two images. One prioritizes highlights, and the other prioritizes shadows and dark areas. Canon states that this sensor is capable of 16+ stops of dynamic range with reduced noise in the shadows and improved low light performance. You will probably not notice a massive increase in dynamic range if you are still finishing in SDR. It is with HDR that DGO will be noticeable.

The DGO works across all ISO ranges on the camera. Canon says that the most dynamic range (16+ stops) can be achieved when shooting at 800 ISO in Canon Log 2. If you shoot in Canon Log 3, then the dynamic range drops to 14 stops. From what I have seen, if you move off the camera’s native ISO, the DGO isn’t as effective when shooting at higher ISO levels. It also appears that the extra dynamic range you are getting on the camera is coming below middle grey. If you look at images from the C300 Mark III, there didn’t seem to be any dynamic range improvement in the highlights if you compare it to the C500 Mark II. I expect the same to be true with the C70.

You shouldn’t confuse Dual Gain Output with Dual Base ISO. Although it’s the same basic idea of having different readout calibrations, Dual Gain Output is much harder to do than Dual Gain ISO because that switches between the two. What ARRI and Canon are doing requires there to be a dual readout on every frame and then processing all of that on every frame.

Canon has also included an Auto ISO option in the C70. According to Canon, this is the first Cinema EOS camera to feature an Auto ISO capability. The Auto ISO can be set to either High or Low in the menu. For certain shooting applications, this is a nice feature to have, especially if you happen to be going from outdoors to indoors in one shot.

Canon’s Dual Pixel CMOS AF uses every pixel on the imaging sensor to detect focus and capture actual image information to achieve high precision focusing and high image quality.

Like on many Canon EOS cameras, there is a Dual Pixel Focus Guide that enables users to manually hold and control critical focus with confidence by adding front/back focus indicators.

Something to note. I have heard that the C70 AF doesn’t perform well in lowlight situations or at least compared to other Cinema EOS cameras. I didn’t have a chance to test this, and I don’t shoot in very low-light situations, so the issue didn’t come up for me. Something to think about, and if it is an issue, hopefully, Canon will fix it with an update.

Canon has taken its Dual Pixel CMOS AF a step further on the C70. For the first time in the Cinema EOS System, the C70 features EOS iTR AF X. iTR stands for Intelligent Tracking and Recognition. This is the exact same system that is found in the Canon 1DX Mark III.

I tried Clog 2, Clog3 with C Gamut, and Rec.709, and after applying the Canon LUT, they all normalized very similarly, with the blue channel being deeper and needing Magenta added. Outside of that, the cameras will match pretty well. I highly recommend shooting a color chart and white balancing both cameras at the same time to ensure a better match in post.

To the naked eye, I would say the C70 color looks more accurate than the EOS R5. Canon should have a firmware update coming for the R5, and I hope they decide to tweak the color a little to give an even better match. Adding Clog 2 and Clog 3 with C Gamut would be great as that would make it [potentially a perfect match.

One thing with Canon color is it tends to be very similar over the years while Sony has made big changes. The improvements that Sony has made are good ones as their color isn’t my favorite.

Unfortunately, I wasn’t able to get the Canon Mount Adapter EF-EOS R 0.71x for this review. It’s very cool that Canon decided to make a focal reducer so we can use the vast lineup of EF lenses on the S35 sensor and have that full frame field of view with an extra stop of light in brightness to boot. For example, an F4 lens using the adapter will give you the same amount of light as an F2.8 lens. Not bad, right?

The EF-RF “Speedbooster” creates a 0.71x wide optical conversion. It fully supports CMOS AF and optical correction with Canon EF lenses. It will also pass through and display f-number, focal length, and lens metadata.

I have the Canon EF to RF adapter for my EOS R5, and it is great. I’ve never used an adapter that works so well. This makes sense since the adapter is passing through Canon’s own technology as opposed to, say, a Canon EF on a Sony camera. The adapter acts like a translator, and in most cases, it’s very hit and miss.

However, Canon’s entire range of EF lenses will be compatible with the EF-EOS R 0.71x mount adapter through the release of free firmware updates across 2021 that will enhance the communications and functions between the camera and lenses.

What is interesting to see is that Canon has enabled simultaneous audio recording when shooting high frame rates. The audio gets recorded in a separate file from the video. The file format it records in is BWF (.WAV extension). This is a great feature and something that shouldn’t be overlooked.

There are no RAW recording options available on the C70, either internally or externally. When I asked why I was told by Canon that if people want to record RAW, then there is the C200. It is a little strange that the lower-priced R5 can record RAW, but this camera can’t.

The C70 does have some in-built LUTs, but you can’t load up or import any custom LUTs of your own. However, according to Canon Japan, there is a “Look File” for creating custom picture profiles. This allows you to import a .Cube format 3D LUT into the camera and apply the captured 3D LUT for recording. This makes it possible to record with the intended look even in workflows that do not do color grading.

Canon suggests using V90 SD Cards for most situations, especially Slow & Fast modes. As you never know, I would stick with the V90, and it would be a shame to limit your creativity because the card isn’t fast enough.

I think the main reason for going with SD Cards as opposed to newer CFexpress is the lack of any RAW recording options. If you’re holding out hope for Canon Raw Light, it won’t happen for this alone.

With such a compact body and the ability to shoot at high frames and 4K, the body has to be able to cool to prevent the dread overheating. Yes, the R5 release showed how important or embarrassing a camera that overheats quickly could be. The last thing canon needs is another camera with overheating issues.

False Color is a very good way to judge exposure and the C70 has it, but it doesn’t show you the IRE scale that represents the colors. You will have to get used to the Canon color scale to trust it.

The good ole Waveform is the tried and true for video production. I do like to pop it on just to check. While it’s very small, it helps to have it. The position can be changed from right to left, but you cant put it in a corner. It stays close to the center but on either side. This is good and bad as I can’t keep it on while shooting since it covers a critical area of the image, so I tend to pop it on and off when needed. The Waveform also can be seen when using the HDMI output.

Not having an EVF is not ideal as the camera is harder to use outdoors in the sun. The saving grace is Canon DPAF is amazing, and touch focus works very well. You have plenty of exposure tools so getting the shot without an EVF is doable but not ideal.

Canon has done something special with the C70. It’s debatable if it can be an A-Cam. For me, I could make it one with a few pieces of kit. The price is fair as well, considering it cost $5500 compared to the C300 MKIII at $11,000 US. I think you get a lot more camera for half the price. On the other han