Select your language
  • Deutsch

    Sämtliche Inhalte auf der CPN-Website sind auf Englisch verfügbar. Einige Inhalte, wie z. B. Produktbeschreibungen, aktuelle Produkteinführungen und einige technische Artikel, sind ebenfalls auf Deutsch, Spanisch, Französisch, Italienisch und Niederländisch erhältlich. Wählen Sie in der Liste oben Ihre Sprache aus, damit sämtliche darin verfügbaren Inhalte automatisch entsprechend Ihrer Wahl dargestellt werden. Ansonsten wird als Standardsprache Englisch verwendet.

  • English

    All content published on the CPN website is available in English. Some content – such as product descriptions, recent product launches and some technical articles – is also available in German, Spanish, French, Italian and Dutch. Choose your language from the list above and all content that is available in your language will automatically be displayed in your language, otherwise the default language will be English.

  • Español

    Todo el contenido publicado en la página web de CPN está disponible en inglés. Parte del contenido –como descripciones de producto, lanzamientos recientes de productos y algunos artículos técnicos– también están disponibles en alemán, español, francés, italiano e holandés. Elija su idioma en la lista anterior y todo el contenido que esté disponible en su idioma aparecerá automáticamente en ese idioma, o , si no, en el idioma predeterminado que es el inglés.

  • Français

    Tout le contenu publié sur le site Web de CPN existe en anglais. Une partie du contenu (comme les descriptions de produit, les lancements récents de produit et certains articles techniques) est également publié en allemand, en espagnol, en français, en italien et en néerlandais. Choisissez la langue dans la liste ci-dessus, et tout le contenu offert dans votre langue s’affiche automatiquement ; par défaut, le reste s’affiche en anglais.

  • Italiano

    Tutti i contenuti pubblicati sul sito CPN sono disponibili in inglese. Alcuni contenuti come descrizioni di prodotto, lanci di prodotti recenti e alcuni articoli tecnici sono disponibili anche in tedesco, spagnolo, francese, italiano e olandese. Seleziona la lingua dall'elenco in alto e automaticamente si visualizzeranno tutti i contenuti disponibili in quella lingua; diversamente la lingua di default sarà l’inglese.

  • Nederlands

    Alle inhoud die op de CPN-website wordt gepubliceerd, is beschikbaar in het Engels. Bepaalde inhoud, zoals productbeschrijvingen, onlangs gelanceerde producten en sommige technische artikelen, zijn ook beschikbaar in het Duits, Spaans, Frans, Italiaans en Nederlands. Kies de taal uit bovenstaande lijst, waarna alle inhoud die beschikbaar is in de gewenste taal, automatisch in die taal wordt weergegeven. Anders is Engels de standaardtaal.

Technical

Thorsten Milse and Richard Walch shoot Iceland with the EOS 6D

Thorsten Milse and Richard Walch shoot Iceland with the EOS 6D

© Thorsten Milse

December 2012

Canon Ambassadors Richard Walsh and Thorsten Milse travelled to Iceland recently, to photograph and film with EOS 6D DSLRs for Canon Europe’s new EOS 6D brochure and advertising campaign. CPN Editor David Corfield spoke to both of them to find out more about a truly adventurous trip and their thoughts on the full-frame EOS 6D.

As great jobs go, they don’t get much better than this: a brand new full-frame DSLR from Canon, packed full of potential and promise, and the stunning landscape of Iceland as a subject. There’s only one drawback: there are just four days to shoot, film and wrap. The pressure was on from the moment Richard Walch and Thorsten Milse touched down on Iceland’s ashy soil...

 

Please click above to watch a behind-the-scenes movie of the making of the EOS 6D video.

“It was pretty full on,” Walch remembers. “We had no time to get to know the camera beforehand, so were straight in at the deep end from the word go! Fortunately, we both had very similar ideas about how to approach the brief.”

Thorsten Milse recounts: “Iceland presents lots of challenges, particularly the weather because it changes so quickly. Richard and I had discussed a plan a few days before the trip so we knew what we could do together, even though our knowledge of the [EOS] 6D was zero before we started using it.”

Any initial unfamiliarity with the EOS 6D was soon overcome, however, as this latest full-frame camera has much in common with other full-frame EOS digital SLRs. It shares the same On/Off switch on the left hand side of the top plate, behind the mode dial, just like the EOS 5D Mark III, and offers a similar menu overview from the LCD. Moving from stills to video is made easy at the flick of a switch to the right of the viewfinder – again, just like on the EOS 5D Mark III – and when taking pictures the behavioural characteristics are closer still, albeit with a few novel touches.

“The camera is Canon’s lightest and smallest-ever [full-frame] EOS DSLR,” Milse comments, “and in the cold of Iceland I instantly saw that!”

© Thorsten Milse

A closer look at how Richard Walch works when filming. Here we see the EOS 6D and an EF24-70mm f/2.8L II USM lens mounted on a Zacuto rig with a Six Modular clamp attachment linking to the focus puller. A Zacuto HDMI monitor links to the EOS 6D’s HDMI port perfectly for clear digital-to-digital display.

As a photographers’ tool, however, the traditional EOS hallmarks of quality construction, fast performance and complete reliability more than hit the benchmark, and Richard Walch was quick to praise the EOS 6D, not only for its film-making capabilities, but also for its new features such as built-in GPS and WiFi. “It’s a total game-changer,” he reflects. “It’s really great. It is perfect for travel with its GPS, which logs your location even in standby mode, and that’s really cool because you can download the data and use it for travel blogs and mapping.”

“As a filming tool it also scores big points,” Walch continues. “Because it is a little smaller and lighter this gives an advantage because when you work with it on a rig or a Glidecam stabilising system, in these situations the less weight the better. That’s a real positive as it means the shots are that much smoother because you have better control. Working with a full-frame sensor as well, it gives you the highest quality and the best shallow depth-of-field options. These are the really important advantages of filming with full-frame sensors. These are the jewels. And now this is the most affordable camera to bring you into this world. I was instantly impressed with it.”

On the first day the shoot took in some of Iceland’s most spectacular attractions, from the breathtaking waterfalls of Gullfoss (used by Ridley Scott in the film ‘Prometheus’), to the hot geyser at Strokkur that erupts in spectacular fashion every eight minutes. Along the way the pair filmed local characters, like the wild horses at Ingolfsfjall before light levels dropped. But any deficit in daylight didn’t mean that the shoot finished, far from it. The brief dictated that the photographers take stills and movies in all conditions, in all light levels. With the full-frame 20.2 Megapixel sensor inside, the EOS 6D was well capable of delivering stunning images at any time of the day.

© Thorsten Milse

Icelandic wild ponies gallop through the water at Landmannaleid, Iceland. Taken on a Canon EOS 6D with an EF16-35mm f/2.8L II USM lens at 18mm. The exposure was 1/800sec at f/5.6, ISO 1600.

Richard Walch was primarily concerned with filming, and his experience in this field, particularly with Canon DSLRs, was key. “My first priority was to get the motion,” he recalls. “Part of my brief said: bring back a cinematic movie that makes you want to shoot films with the camera. So when Thorsten went out to get landscapes, I immediately went to get movies. Only when I was happy with what I’d shot for the film did I start to take stills. It was my second mission. The priority for me was the motion. But working with Thorsten was a really good collaboration, because we had two separate missions, yet one combined goal.”

Milse explains: “We had great teamwork on the trip and in a way we were all learning together because none of us had used the [EOS] 6D before. This for me was really nice, as it was like being back at school! The camera was really easy to get to know, though, once we started taking pictures with it. And, in Richard's case, making movies as well as stills!”

Walch remembers: “Of course, the problem you have as a photographer when you have to shoot film and motion together is that it can sometimes get too much for you, because you have to concentrate so much. This is where the EOS DSLRs score. The beauty of shooting with a DSLR is that when you see a perfect still photograph, you only have to flick one switch on the back of the body to turn the EOS 6D back to a stills camera and you can get it [the picture] just like that. Perfect.”

Day Two took the team to the lunar-esque landscape of Landmannaleid, an area of outstanding natural beauty in Iceland’s southern region. The area is covered in ash by nearby volcanoes and gave Thorsten Milse and Richard Walch the perfect opportunity for some amazing landscapes using the EOS 6D with the new Canon EF24-70mm f/2.8L II USM lens. The super-sharp zoom was an instant favourite and offered a great range of picture-taking possibilities, from early morning wide sweeps showing the frozen ash to close-up portraits of the two models, who were being filmed on the shoot by Richard Walch.

“The sharpness of that lens was just incredible,” Milse remembers. “Even at maximum aperture it was super sharp and in the morning light as the sun broke over the mountains in the background it caught every detail. Really impressive.”

Walch adds his own endorsement: “The best part about this lens for a filmmaker is that it’s so ultra-sharp, it makes a fantastic difference. It is significantly sharper than any other lens I’ve used in the past. This lens is a yet another game-changer.”

From the ground-based shooting, a trip to the skies was planned, and a Cessna was chartered to carry the pair up to 10,000 feet to get some great aerial views, putting not only themselves to the test, but challenging the new 11-point autofocus capability of the camera.

© Richard Walch

Aerial view over the dramatic cliffs of Reynishverfi, Iceland. Taken on a Canon EOS 6D with an EF70-300mm f/4-5.6 IS USM lens at 75mm. The exposure was 1/1000sec at f/8, ISO 1000.

“I was looking forward to finding out how good the focusing was,” remarks Walch, “I must say, though, that the Canon engineers have done a great job because I had no problems at all, even when hanging out of the side of a plane!”

Thorsten Milse explains: “The aircraft was moving at 120kmph and with the EF70-200mm f/2.8L IS II USM lens it was a real test, but it was not hard work at all. Both the camera and lens worked perfectly together. The aerial shots were the highlight of the trip for me.”

“And for me!” pipes up Walch, “But probably for different reasons…” He continues: “We were flying with an open door and in that situation it really takes all your energy to get great shots. It’s fun but also really demanding as a photographer. We spent nearly three hours in the air and on the way back I decided to shoot the tail of the plane in the sunset. Because of the wind pressure, though, I couldn’t get enough stability. All of a sudden, without even asking, Thorsten put his foot out and gave me just enough of a platform from which to capture a steady moving shot. I really liked that, as it showed how photographers instinctively know just what to do to get a picture.”

There is a funnier side to this tale of collaboration, though, and it involves feathers. Lots of feathers… “As we were flying back, my jacket got caught on a part of the aircraft door-frame and tore, which made all the feathers come out!” Walch laughs. “We thought it was a bird strike at first until Thorsten pointed at my arm. Thankfully some Gaffer tape stopped any more feathers coming out and covering us! The plane, though, looked like the inside of a woman’s handbag after we’d finished!”

Workflow for the shoot was made infinitely easier thanks to high-capacity SD cards, and the EOS 6D’s built-in WiFi allowed the DSLR to be connected to an Asus tablet for quick review and also for shooting remotely. “We could fire the camera remotely and it worked a dream,” Walch remembers. “You tap on the image and it focuses for you, and then you release your fingers and – hey presto – it shoots in perfect focus. For [full resolution] image and movie transfer we took the cards out and imported them via direct transfer to a MacBook’s SD card slot for post-production.”

© Thorsten Milse

Richard Walch prepares his EOS 6D for mounting on a rig. Seen here in the picture is Richard’s backpack and Peli case containing his ‘mobile studio’.

“We shot with SanDisk Extreme 32Gb and 64Gb SD cards and were rolling 1 Terabyte of data over four days – that’s a lot of material!” Walch continues. “Matthias was our digital assistant on the trip, and we worked from my special production suitcase made from a waterproof Peli case, which allowed us to carry on shooting as the SD cards got full up. Inside were two hard drives, a card reader, a 12V power supply so we could run it from a car, plus a MacBook Pro with Retina Display. It’s my portable digital studio and it worked perfectly for me and Thorsten. All we would do was to hand our cards over to Matthias and he would handle post-production while we were driving to the next location. Perfect teamwork.”

“For anyone interested in landscape and wildlife, you are in heaven in Iceland,” Thorsten Milse smiles. “And with a camera like the EOS 6D, with its small size and full-frame sensor, you can capture all that magic in perfect detail really quickly and easily.”

“There is a quality to the light and to the landscape that I haven’t seen anywhere else,” Walch remembers. “It was an incredible trip, with incredible pictures from – and I really mean this – a truly incredible camera. We were really gambling hard to do this job in just four days with a camera we had never worked with before, so it was a big risk from a professional photographer’s point of view. We wanted to do something different. It would have been safer to shoot pretty pictures in nice warm locations, but that’s not what this camera is about. The EOS 6D is all about travel and adventure – and we certainly had plenty of that.”

 

Please click above to watch Richard Walch’s film of Iceland, shot on the EOS 6D DSLR.

GPS co-ordinates of locations on the shoot:

WATERFALL AT GULLFOSS:
Latitude 64,19.5662N
Longitude 20,7.4653W

GEYSER AT STROKKUR:
Latitude 64,18.7724N
Longitude 20,18.0467W

HORSES AT INGOLFSFJALL:
Latitude 64,59.2619N
Longitude 21,5.5122W

LUNAR LANDSCAPE AT LANDMANNALEID:
Latitude 64,5.1013N
Longitude 19,42.5605W

COASTLINE AT VATNSKARDSHOLAR:
Latitude 63,23.5785N
Longitude 19,9.0913W

MOSSY ROCKS AT ELDHRAUN:
Latitude 63,44.1081N
Longitude 18,12.2984W

ICE FLOES AT JOKULSARLON:
Latitude 64,3.1067N
Longitude 16,10.7686W

Biography: Thorsten Milse

Thorsten Milse

Wildlife photographer and Canon Ambassador Thorsten Milse originally trained as a graphics designer, but then decided to pursue a full-time photographic career. Since 1990 he has photographed wildlife and landscapes all around the world. His stunning images have been published in 25 countries and have won several international awards. In late 2011 his epic coffee table book 'Polar World' was published.



Biography: Richard Walch

Richard Walch

Extreme sports photographer and filmmaker Richard Walch is a Canon Ambassador who started out over 25 years ago shooting snowboarding and skiing, and now specialises in dramatic action shots of snow and water sports. Since 2008 Walch has diversified from stills into shooting HD movie projects with Canon EOS DSLRs, including TV adverts and commercial projects.



Showcase

Ice floes and their reflections at night, lit with car headlights, Iceland. Taken on a Canon EOS 6D with an EF24-70mm f/2.8L II USM lens at 45mm. The exposure was 5 seconds at f/5.6, ISO 1250.