Tips & Tricks | Resetting your camera image

Tips & Tricks | Resetting your camera

Our workshop receives quite a few cameras for repair that don’t actually have anything wrong with them! More often than not, users have inadvertently set custom functions on their DSLRs that disable operations such as AF and shutter release from working correctly.

Of course, if your camera is behaving erratically, it may well have a genuine fault, but it’s definitely worth wiping any custom settings before you send it in to us.

If you’ve been following our Tips & Tricks series, you’ll have seen a post recently that described a simple way of backing up and restoring your camera settings on a spare memory card. This is, of course, a great way of getting your DSLR up & running after a full reset, but make sure you’re backing up and restoring a fully ‘working’ set of parameters!

Fortunately, resetting the camera settings back to a factory standard is a fairly straightforward process.


Nikon

On many Nikon DSLRs, there is handy shortcut accessible from a couple of exterior buttons that are marked with a small green dot. Pressing these two buttons simultaneously for a second or so will reset many of the camera settings back to factory standards. The position of these buttons does vary from model to model though:


D5
The [DRIVE] & [WB] buttons below the smaller rear LCD.

D4, D4s
The [ISO] & [WB] buttons below the smaller rear LCD.

D850, D810, D800 & D500
The [+/-] & [QUAL] buttons on the top.

D750, D610, D600
The [+/-] button on the top of the camera and the [ISO] button the rear.

What we tend to find is that any custom functions will not be reset using the above procedure and you’ll need to go into menu to wipe these. Again, it varies from camera to camera!

On the high-end Nikons (D800 and above), you’ll need to reset the 4 Custom settings banks individually. Select the [A] bank and press the [DELETE] button. Repeat for [B,C & D] banks.

You’ll also need to reset the 4 shooting banks, following the same procedure as above.

The D750, D610 & D600 only have one custom settings bank so resetting is much easier, and again, only the one shooting bank.

Interestingly, the D5 & D4s seem to be the only cameras with a master reset option in the menu, but again, not all custom settings are cleared.


Canon

Canon users have it a bit easier when it comes to clearing errant settings. On the majority of professional grade bodies – certainly the 7D upwards – there are just two menu controls to access.

Activating these two options through the menu should return your Canon DSLR to its factory settings.


Sony

Sony users have it the easiest with the A7 & A9 cameras. A single menu option takes care of either wiping the camera settings, or performing a full factory reset and clearing absolutely every setting back to factory standard.

‘Camera Settings Reset’ will restore the standard shooting menu, whereas ‘Initialize’ will reset the entire camera back to factory standards. Unfortunately, Sony have not yet provided a facility for backing up and restoring settings, so be aware that you’ll have to sit down and go through every parameter, especially if you opted for the ‘Initialize’ option.

If anyone has any further suggestions for performing a camera reset, please feel free to share below.

Fixation Team | Canon Technicians (Part 2) image

Fixation Team | Canon Technicians (Part 2)

In part two of our Canon technicians feature we meet the rest of the team who work hard to keep your Canon kit in top working order.

 

Arison

Arison joined Fixation in January 2016 with a level 3 BTEC diploma in Electronics and Electrical Engineering under his belt. He lives up to his status as Fixation’s youngest staff member by being a bit of a party animal – he’s a regular attendee of all-night raves and Techno House. As Spare Parts Co-ordinator, Arison is responsible for stock control and ordering our Canon spares. He also repairs entry-level Canon cameras and some L series lenses. He enjoys playing pool, savours good cognac and recently spent 3 weeks back-packing around Europe by train. Arison likes to keep his feet firmly on the ground though; he suffers from Acrophobia and this fear of heights meant he could only manage the first level of the Eiffel Tower. He’s hoping his next trip will be to Canada, we’re guessing Toronto’s CN Tower won’t be part of the itinerary!

 


Navin

Navin trained as an electronic engineer before starting his first job as a merchandise examiner in 1979, checking equipment for quality and safety. In 1984 he joined photographic distributor, Johnsons of Hendon (latterly Johnsons Photopia) as a technician, repairing enlargers, projectors and flashguns. In 1987 he began work at KJP where he worked alongside our own Mick Edwards and Fixation founder, Mike Allen. He later joined Pentax UK where he advanced to Technical Endoscopy service manager. Navin joined Fixation in February 2012 and specialises in Canon lens repairs. In addition to the decades of technical experience, Navin has also managed his own newsagents; he enjoys a good malt whiskey and watching international cricket 20/20 matches.

 


Luigi

Luigi studied electronics at college before joining Camera Service Italia, Canon’s authorised repair agent, in his hometown of Naples in 1999.

He worked here alongside Giuseppe Cirello until 2012 when both men and their families moved to London and joined Fixation in February of the following year. Luigi specialises in the repair of L lenses and pro to mid-range camera bodies.

He’s known for his humour and cheeky smile, but there’s really no mistaking where his heart lies – a love of Ducati bikes, Neopolitan pizzas and Sicilian holidays says it all.

But one day, who knows? He may even get used to British weather.


Aleksejs

Born and raised in Soviet Latvia, tri-lingual Aleksejs served his national service repairing military electronics in Chenobyl, just two years before the notorious disaster struck. He later spent many years running his own food stores before returning to a safer form of electronics repairs in 2001. He started in a multi-brand service centre before moving to Latvia’s Canon-authorised service centre in 2003 where there were strong connections with Canon repairers in Finland, Sweden and Russia. In 2010 he uprooted to the UK to join Fixation and his only lament about living in London is the lack of fresh water fishing. Thankfully for us, he doesn’t carp on about it.


 

You can read part 1 of the Canon technicians feature here.

Tips & Tricks | IS & VR Lens Care images

Tips & Tricks | IS & VR Lens Care

Image stabilisation is a common feature on modern lenses, giving up to 4 stops advantage,  and we’ve all enjoyed the benefits in those tricky low light situations where we don’t want to push the ISO too far.

The principle behind the technology is similar, regardless of manufacturer. A group of floating elements positioned near the rear of the lens are held in place by a series of electro-magnetic coils. Two gyroscopic sensors detect horizontal and vertical movements, and corrective adjustments are relayed to the electro-magnets which in turn steady the floating elements, resulting in a much sharper and steadier image.

The IS unit from a Canon 100-400mm ƒ/4.5-5.6L IS lens.

Now with all this electronic technology sitting in the lens – effectively a mini computer – it goes without saying that care should be taken with your glass, especially as the stabilisation systems can be easily damaged if care isn’t taken when removing the lens.

When the lens is attached to the camera and powered on, the electro-magnets release the elements, ready to stabilise the shot once the AF is activated. But when the camera is turned off, the power to the electro-magnets is deactivated and the elements lock in place to minimise any damage if the lens is knocked.

However, if the lens is removed before the elements have a chance to lock, they can float around freely and are susceptible to damage. The golden rule here is to ensure the camera is turned off and wait a couple of seconds to allow the elements to lock before removing the lens. On some lenses an audible click can also be heard when locking.

In some Nikkor lenses, the VR unit can be replaced without having to replace the floating element group. This example is from a 70-200mm ƒ/2.8G (1st Gen).

Lenses with damaged stabilisation units are something we see every week in the workshop and replacing these units can run into several hundred pounds, depending on the lens.

 

CANON LENS REVIEW | 35MM & 24-70MM

Canon lens review | 35mm & 24-70mm

Longtime Canon user Jack Terry tests the Canon 35mm ƒ/1.4L Mk II and tries the 24-70mm ƒ/2.8L Mk II against his original Mk I version.

Investing in lenses is not something any photographer takes lightly. Once you have a set it’s not often that you want to go changing them, despite brands constantly pushing an updated version and striving to find a reason for you to upgrade to their latest model.

I have a general rule that I only upgrade or invest in new equipment if it will do two, or preferably three of these three things. Directly generate revenue, speed up my workflow, or provide a drastic and noticeable difference to the existing product.

After using my set of Canon lenses for almost 10 years, the Mk II versions had me asking myself the question, should I make the move and can I justify it?

To help with the decision, Fixation lent me a 35mm ƒ/1.4L II and a 24-70mm ƒ/2.8L II to shoot a recent personal project “Little Rascals”. The project is a documentary study of a children’s charity and I wanted to shoot it on my own with no assistants and minimal kit.

Little Rascals | © Jack Terry

Photographing kids is something I really enjoy. They are refreshingly inquisitive about everything and then moments later are engrossed in their own world of play and it’s like you don’t even exist. This is something I rely on to get in close and capture the natural moments that are over in seconds.

Little Rascals | © Jack Terry

I used to spend my life shooting on a 50mm ƒ/1.2L for two reasons: firstly I always shoot wide open and it is a beautiful lens, but mainly because I found my original 24-70mm ƒ/2.8L to lack in quite a few areas. The problem with the 50mm is it can be a bit narrow for lifestyle. Shooting this project with the new 24-70mm was a revelation. It gave me the image quality of my primes, but with the versatility that I had forgotten existed with zooms.

Little Rascals | © Jack Terry

Although the focal lengths overlap, I found the combination of the two lenses perfect for this project. With the zoom I could pick little details from a far, or shoot wides of crazy kids running towards me. Changing to the 35mm let me get in close and throw the background out of focus. I would go as far as saying that the 35mm Mk II is the most perfect Canon lens I have ever used. It is the perfect focal length for my work and has a mystical quality to it that just looks different. I felt like images shot on it had more depth to the tones and it gave a beautiful representation of everyday life. It is razor sharp in the right areas while still looking natural and the focus is really quick.

Little Rascals | © Jack Terry

Unlike things like lighting or digital equipment that can be hired out in addition, a photographer is expected to supply lenses, so that discounts my first rule of generating revenue. The question is, do these lenses tick the other two boxes to justify the upgrade?

Little Rascals | © Jack Terry

On commissions recently I have regularly shot the whole day just on the 24-70mm. The change in my workflow has been drastic and not swapping lenses so much allows me to focus on what I need to instead. The image quality paired with a 5DS is capable of billboard level images with no problem at all. Images are always razor sharp and have a contrast and depth to them that didn’t exist in the Mk I version. That combined with the fact that I just sold my Mk I for £550 after buying it new for £800 makes the upgrade unquestionable. If you still have the Mk I 24-70mm, sell it and upgrade. You can thank me later.

Little Rascals | © Jack Terry

In regards to the 35mm ƒ/1.4L II this is less of a black and white answer and driven by something unquantifiable that the sensible side of my brain and my accountant would be shouting at me to ignore. I found this lens an absolute joy to use, the ergonomics are perfect and it sits really nicely in the hand. If you shoot people you should have a 35mm lens, the question is do you need the new one?

I shoot into the sun a lot and always wide open. Chromatic aberration is something I am used to getting a lot of and I spend a large amount of time correcting in post. This lens all but removes it in camera which is amazing for my workflow. In terms of sharpness it is brilliant, however the mkI version is pretty good too. I am left with the dilemma that I can only honestly tick one of my three boxes. This is my favourite Canon lens by a long shot and from the project the majority of selected images were shot using it. The question is do I and do you need one? All I can suggest is hire one from Fixation and find out for yourself, but be careful it will be a tough one to return.

To try either of these lenses simply hire from our sister company Wex Rental:

Canon 35mm ƒ/1.4L II

Canon 24-70mm ƒ/2.8L II

You can also take advantage of our special weekend rates – 3 days hire for the price of 1.

To see more of Jack’s work, visit his website here

Fixation Team | Canon Technicians (Part 2) image

Fixation Team | Canon Technicians (Part 1)

Our Canon technicians are a talented bunch of rascals, hidden away in our Kennington workshop, feverishly fixing any body, lens or speedlite that comes their way. In this first part of a series we meet some of the guys responsible for keeping your Canon gear in top working order.

Mick

For the low-down on Mick’s history at Fixation we need to go back a few short years to 1982 when Mick was a teenager working for KJP. It was here he met Mike Allen and when Mike decided to start his own repair company, he took little Mick along too. It certainly hasn’t been a short-term career as Mick has been with Fixation ever since and now manages the Canon, Profoto, Aquatech and Fuji repairs. Mick is known, in no small way, for his sense of humour. He has no shortage of low-brow jokes and tall tales, although not always appreciated by his long-suffering colleagues. Mick enjoys motorbikes, but his big passion is for Scuba-diving. He organises his own club and instructs too, certainly no small feat. Keeping things short, we’d finish by saying that what Mick lacks in height, he makes up for in personality. Hopefully this comment won’t go over his head, but most things do.

 


Giuseppe

Giuseppe “Jo” Cirello’s career started in his hometown of Naples in 1991, where his jobs included the repair of audio equipment and installing Fujifilm Minilabs.  In 1993 he joined Camera Service Italia, Canon’s authorised CPS repair agent in Naples and during his time there advanced to Technical Manager and was responsible for repair output and customer service.

The economic downturn left him looking for pastures new and he and his family uprooted to London and a new start at Fixation in February 2013.  Jo continues to repair Canon pro kit and is also our chief repairer of Profoto kit.

 


David

When David originally joined Fixation in March 1998, it was as temporary help for the Admin team, of which his sister was a part at the time.  But when an opportunity to train as a technician arose, David made the move to the workshop and received training from both Barry and Mick.  During the period that Fixation was official repairer of Kodak’s DCS pro range, David was the primary technician involved, but now he specialises in the Canon 1D models.  David considers himself a “real” Game of Thrones fan, by which he means he was an avid reader of the books long before the television series came along.  A big sports fan, he enjoys playing pool and snooker, but his big love is for Liverpool FC and unsurprisingly he counts Bill Shankley among is heroes.  At home he is often called upon to act as referee – by breaking up fights between Felix and Kitty, his two warring cats!


Stuart

Back in June 1995 Stuart was a directionless teenager not sure where he wanted life to take him.  Then he came across a small ad in the Sit Vac section of his local paper inviting applications to join Fixation as a trainee technician.  With a bit of a push from his dad he decided to apply and although he turned up for the interview late, very nervous and having to perform a soldering test that was completely new to him, the team obviously saw the talent in him and he’s been with us ever since.  A fan of Brentford FC and a keen pool player, don’t be fooled by the gruff exterior – now the father of small girls, he has developed a penchant for the likes of Harry Potter and Disney’s Frozen on Ice and his favourite experience was swimming with dolphins in Mexico, so clearly he has a very soft centre!


Alfie

Gaming fan Alfie joined our Canon workshop in October 2016 as Assistant Spares Co-ordinator and trainee technician.  As part of a full training programme expected to last 3 years, Alfie currently repairs mainly EF-S lenses; but with 4 years’ experience as an apprentice electrician under his belt, he is also the perfect fit to safely take on some of our higher voltage Profoto repairs and has undertaken additional training in Sweden for this purpose. A regular traveller and particular fan of the US, Alfie is also a keen sportsman with rugby and judo recently giving way to rock climbing as his favourite pursuit.  He also has a sensitive side – he enjoys carving wood and has produced objects ranging from spoon to tables and he counts Bailey, his labradoodle, among his best friends.

 

We’ll be featuring the remainder of the Canon team soon, but in the meantime, you can read all about our Nikon technicians here.

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