# Canon Dominates Sidelines at Super Bowl LI



## Canon Rumors Guy (Feb 7, 2017)

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<b>MELVILLE, N.Y., February 7, 2017</b> – On February 5<sup>th</sup>, top sports photographers from across the country gathered in Houston to cover the Big Game between the teams from New England and Atlanta. With an estimated 75 percent* of the photographers in the Houston stadium using Canon EOS DSLR cameras and EF lenses, Canon’s iconic white lenses filled the sidelines from the opening kickoff to the final whistle. In addition to the EOS DSLR cameras and EF lenses on the sidelines, Canon’s line of HD broadcast lenses were also used extensively to help deliver the game to more than 110 million television viewers.</p>
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<p>“It’s an honor to see yet another major sporting event where the country’s most talented and acclaimed sports photographers captured exciting moments with Canon equipment. These images will be seen by millions of people around the world and will forever be etched in sports history. We understand there are many equipment options for professional photographers and Canon is honored to serve these professionals and provide assurances that both our products and support live up to the requirements and expectations of our devoted customers,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.</p>
<p>A full complement of friendly and knowledgeable staff from the Canon Professional Services (CPS) team, a fixture at major sporting events throughout the year, were on site at the stadium for most of the week leading up to game day providing comprehensive equipment maintenance, extensive equipment loans and expert technical support to the major photo agencies and individual professional (or media) photographers covering the game.</p>
<p>For veteran sports photographer and Canon Explorer of Light Damian Strohmeyer, this was his 30th time covering the big game as a professional, and he was well stocked with Canon cameras and lenses. “Leading up to the game, I always make sure to meet with the Canon Professional Services team to run through my settings and firmware, and ensure that my gear is as ready for the big game as the players are,” Strohmeyer said. “During the game, there’s so much action that you can’t be worried about how your equipment will perform. Depending on where the play is, I need to stay prepared for anything that may happen, with no time to switch lenses. For this reason, I used three EOS-1D X Mark II cameras, equipped with EF 400mm f/2.8L IS II USM, EF 70-200mm f/2.8L IS II USM, and EF 24-70mm f/2.8L II USM lenses. After the game, I switched to an EF 16-35mm f/4L IS USM wide angle lens for post-game reaction shots. Everything performed fabulously, and my images came out looking great!”</p>
<p>Canon Professional Services will be proudly attending to professional photographers at over 30 events this year including major sporting, auto racing, Hollywood, and political events throughout the year.</p>
<p>For more information about CPS: <a href="http://www.cps.usa.canon.com/" target="_blank"><b>http://www.cps.usa.canon.com/</b></a></p>
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## privatebydesign (Feb 7, 2017)

*Re: Canon EOS DSLR Cameras and EF Lenses Touch Down on the Sidelines of the Big Game in Houston*

Don't you just love the way that because Canon didn't pay the NFL they are not allowed to use the words 'Super Bowl', 'Falcons' or 'Patriots'? 

Oh the verbal contortions we live in these days of trademarks, copyrights, political correctness etc.


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## Chaitanya (Feb 7, 2017)

pretty much same with Australian open but somehow F1 is opposite of other sports events. I see more Nikons at F1 races than Canons.


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## ahsanford (Feb 7, 2017)

Curious: I recognize the A7 platform isn't spec'd to cover sports, but someday it will be. Will Canon still be able to make these claims (like they do at the WC, SB, Olympics, etc.) solely looking at lens color in wide shots? Sony sells white superteles and a future high fps a7 platform offering could adapt Canon's glass as well.

- A


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## eosuser1234 (Feb 7, 2017)

Do pros use a 7Dm2 for extra reach with the APS-C sensor?

Or does everyone get 500-600mm lens for the big game.


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## ahsanford (Feb 7, 2017)

eosuser1234 said:


> Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> 
> Or does everyone get 500-600mm lens for the big game.



I'm no sports photog, but I believe it highly depends on your assignment/placement on the field. If you are in the end zone, it's usually one long lens and a 2nd body with something for closer action (I constantly see a 70-200 2.8 over their shoulders). Other sports with a static target (like a soccer goal in particular) often have UWA zooms behind that target on a remote trigger.

But that one long lens varies from what I've seen and it's not always a 500/600 -- some folks choose f/2.8 glass while for others I assume 500/600 would actually be too long for the shot. Watching sports on TV I always keep an eye out for the photographers -- for (American) football I've seen 400 f/2.8, 200-400 f/4L 1.4x, 300 f/2.8, even the 200 f/2, etc. depending on where you are are relative to the action.

- A


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## Etienne (Feb 7, 2017)

ahsanford said:


> eosuser1234 said:
> 
> 
> > Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> ...



If I were sending photogs to the superbowl, I'd probably send them in pairs: one to cover the long, one to cover the short focal lengths. There's probably not even enough time to change cameras during a play.


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## ahsanford (Feb 7, 2017)

Etienne said:


> If I were sending photogs to the superbowl, I'd probably send them in pairs: one to cover the long, one to cover the short focal lengths. There's probably not even enough time to change cameras during a play.



I highly doubt they change bodies _during a play_, but in some sports (American football for sure), the mass of players shift their location on a fairly static play by play basis that allows photographers to swap bodies when they are closer to them on the field. If they are on the opposite 20 yard line, go long. When they are on your goal line, a 24-70 or 70-200 would be in order.

For more fluid / continuous sports (soccer / basketball / hockey), I have no idea what the thought process is because your range to target would be constantly changing. Perhaps zooms make more sense in those applications.

(Any sports folks reading this? Please educate us!)

- A


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## Herozero (Feb 7, 2017)

ahsanford said:


> Etienne said:
> 
> 
> > If I were sending photogs to the superbowl, I'd probably send them in pairs: one to cover the long, one to cover the short focal lengths. There's probably not even enough time to change cameras during a play.
> ...



Agreed. For the most part it's probably more like baseball, where you can setup a shot on a "fixed" target depending on your position, i.e. being near the line scrimmage allows for setting up a QB/line/RB capture similar to a pitcher delivering a pitch or a batter mid swing.

Fluid sports like hockey are tough, you see more faceoff/goalie shots, when photographers setup in the corner with the hole in the glass it's shoot and pray.


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## Cali Capture (Feb 7, 2017)

Notice a lot of f/4.0 200-400mm lenses. That ability to flip focal lengths is worth the extra weight, and loss of a stop. Imagine there's enough lite and Canon'e anti flicker bodies make it workable, even under lights.


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## slclick (Feb 7, 2017)

Water is still wet


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## Mt Spokane Photography (Feb 7, 2017)

eosuser1234 said:


> Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> 
> Or does everyone get 500-600mm lens for the big game.



No, if you are getting paid to deliver, you can afford a 1 series camera, or rent one. The 7D is a enthusiast camera that can be used for sports by pros, but pros use a standard 400mm f/2.8 for football, and the 24-70mm for close shots. I did see a 7D MK II one time at a College game, and then, I saw it was a student or staff member for the team.


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## Maiaibing (Feb 7, 2017)

slclick said:


> Water is still wet


Top comment! 8)


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## privatebydesign (Feb 7, 2017)

Mt Spokane Photography said:


> eosuser1234 said:
> 
> 
> > Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> ...



CPS were there, though not an official sponsor so they can't use the words. If you are an accredited photographer you get unlimited use of any gear they have so I'd be very surprised if there was a 7D MkII out there. 

In the past they have been very keen to loan Nikon shooters top of the line Canon gear, literally if you go into the CPS tents with a photo pass you can borrow anything.


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## ethanz (Feb 7, 2017)

Cali Capture said:


> Notice a lot of f/4.0 200-400mm lenses. That ability to flip focal lengths is worth the extra weight, and loss of a stop. Imagine there's enough lite and Canon'e anti flicker bodies make it workable, even under lights.



I see a lot of those in the picture too. I think it would be a great lens for football. During the game I was more focused on the photographers than the players, unfortunately they hardly ever showed the photographers so I couldn't see the lenses.


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## rrcphoto (Feb 7, 2017)

ahsanford said:


> Curious: I recognize the A7 platform isn't spec'd to cover sports, but someday it will be. Will Canon still be able to make these claims (like they do at the WC, SB, Olympics, etc.) solely looking at lens color in wide shots? Sony sells white superteles and a future high fps a7 platform offering could adapt Canon's glass as well.
> 
> - A



highly unlikely. CPS and NPS are the real drivers here, they have inventory assets built up over years.

Sony's "pro" services doesn't even stock it's own lenses, they sub contract that out to lens rentals and the call center is only 9 to 5 monday through friday. Can't see either working out there.

and then you have ... 

a A mount 500mm is 13,000 - a canon 500mm is 9,000. you almost get a free 1DX Mark II for the same price of a Sony A mount 500.

then you have the fact they don't have a 600, 800, 200-400, PRO support, other pro services,etc...


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## Ozarker (Feb 7, 2017)

eosuser1234 said:


> Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> 
> Or does everyone get 500-600mm lens for the big game.



There is no extra reach, just a narrower field of view. The subject is not larger.


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## takesome1 (Feb 7, 2017)

eosuser1234 said:


> Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> 
> Or does everyone get 500-600mm lens for the big game.



Only the "Pro's" that showed up thinking they were shooting birds and would have to crop, once they found out the Falcon's were a football team they realized they made the mistake of bringing the wrong gear.

The "Pro's" that came to shoot a football game had the proper gear so they wouldn't have to crop.

FYI, since the release of the 5Ds R using the words "extra reach" just indicates someone is misinformed.


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## Etienne (Feb 7, 2017)

CanonFanBoy said:


> eosuser1234 said:
> 
> 
> > Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> ...



Both 7D2 and 1Dx 2 have 20 Mpixels. Narrower field of view = extra reach ... subject is covered with more pixels, and so the subject is "larger"


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## takesome1 (Feb 7, 2017)

Etienne said:


> CanonFanBoy said:
> 
> 
> > eosuser1234 said:
> ...



While the football stars on the field seem larger than life, and while they are often larger than the average human male, they do not change size depending on which camera you use.


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## Buck (Feb 7, 2017)

eosuser1234 said:


> Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> 
> Or does everyone get 500-600mm lens for the big game.



If you are at an event where CPS is onsite I am going with a 1dx2 or a 5dm4 over a 7dm2. The only way I am sticking with a 7md2 is that is the camera that I am so familar with that I don't want to upgrade for a big event. I shoot the Indy 500 and have tried the 1dx2, I used this as my second camera, I used my 5dm3 as my primary but put the 1dx2 to the test as well . The race is long enough to switch back and forth. I was just more comfortable with my own equipment. I did try the 200-400 w 1.4 on Carb Day once. 

Depending upon what you are shooting and who you are shooting for will determine what you need. At many big events most of the prime spots are reserved for the highest profile outlets or the organization. The Indy race is in the day time so you can get by with a 500-600, a NASCAR night race not so much.


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## acoll123 (Feb 7, 2017)

Cali Capture said:


> Notice a lot of f/4.0 200-400mm lenses. That ability to flip focal lengths is worth the extra weight, and loss of a stop. Imagine there's enough lite and Canon'e anti flicker bodies make it workable, even under lights.



I use a 1DX MK1 and 1DX MK2. Anti-flicker is worth the upgrade alone for me . . . Saving up for second 1DX2 . . . 

I use 200-400 for most field sports (football, soccer, rugby, baseball . . . ) along with a 70-200 2.8. Most of the time, I only flip the 1.4x during the daytime when there is enough light . . .

For indoor sports (basketball, volleyball . . . ), I use a 300 2.8, 70-200 2.8 and 24-70 2.8


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## takesome1 (Feb 7, 2017)

Buck said:


> eosuser1234 said:
> 
> 
> > Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> ...



Which brings up one reason not to use the 7D II vs a 1Dx II. Fast shutter speeds are required, which means higher ISO and the 7D II will not perform as well.


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## dslrdummy (Feb 7, 2017)

Cali Capture said:


> Notice a lot of f/4.0 200-400mm lenses. That ability to flip focal lengths is worth the extra weight, and loss of a stop. Imagine there's enough lite and Canon'e anti flicker bodies make it workable, even under lights.


The guy in the middle is shooting with a 100-400 which gives us amateur sports photogs a ray of hope. Even at those apertures the zoom has its advantages (in reasonable light, on a 1DX/ii).


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## Don Haines (Feb 7, 2017)

Buck said:


> eosuser1234 said:
> 
> 
> > Do pros use a 7Dm2 for extra reach with the APS-C sensor?
> ...


If you can afford the big white lenses, you can afford the 1DX or 1DX2. 

The 7D2 has a fantastic AF system, better than just about everything else out there EXCEPT the 1DX and 1DX2..... And the 1DX2 gives you a solid 2stops of ISO improvement......

Speaking as a 7D2 owner, who can not sing the praises of the camera loud enough, for sports (particularly not in direct sunlight), if there was a 7D2 and a 1DX2 on the counter in front of me at "the big game", I would grab the 1DX2 every time.


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## Mt Spokane Photography (Feb 8, 2017)

I was watching the interviews with the winners at the end of the game, surrounded by a sea of Red Ringed lenses and 1 series bodies. I tried to count but gave up. The Gold Ring lenses were easy, there was only one. I noticed a video camera with a green ring, which was probably Canon, but many use Sony cameras and Canon lenses. Canon loans their 4K broadcast lenses to the TV broadcasters like they did at the Olympics. I don't know if Sony was loaning Video Cameras or not.

https://www.usa.canon.com/internet/portal/us/home/products/details/lenses/broadcast/4k-uhd-portable-lenses/cj12ex4-3b-series


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## Buck (Feb 8, 2017)

what really comes in handy, and this will not be to the liking of many, is a body with a flippy screen for the post game shots or video. You will see many guys with a body raised over top of their head trying to get a shot. You are usually in a very cramped space and never really certain of what you have , by using a flip screen body on live view and a flash you are more likely to get a decent shot, it is no guarantee. The flash takes away the need to have a top of the line body in lower light, the subject is not really moving at any speed. You are going to be using a short lens anyway.
Because there are so many bodies and body parts in the way, these shots are among the most difficult to get. You have no real time to compose and you are not the only one tying to get a clear shot, add the tv cameras, sound people and reporters to the mix make it difficult.


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## sanj (Feb 8, 2017)

Buck said:


> what really comes in handy, and this will not be to the liking of many, is a body with a flippy screen for the post game shots or video. You will see many guys with a body raised over top of their head trying to get a shot. You are usually in a very cramped space and never really certain of what you have , by using a flip screen body on live view and a flash you are more likely to get a decent shot, it is no guarantee. The flash takes away the need to have a top of the line body in lower light, the subject is not really moving at any speed. You are going to be using a short lens anyway.
> Because there are so many bodies and body parts in the way, these shots are among the most difficult to get. You have no real time to compose and you are not the only one tying to get a clear shot, add the tv cameras, sound people and reporters to the mix make it difficult.



Good point


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## dslrdummy (Feb 8, 2017)

Buck said:


> what really comes in handy, and this will not be to the liking of many, is a body with a flippy screen for the post game shots or video. You will see many guys with a body raised over top of their head trying to get a shot. You are usually in a very cramped space and never really certain of what you have , by using a flip screen body on live view and a flash you are more likely to get a decent shot, it is no guarantee. The flash takes away the need to have a top of the line body in lower light, the subject is not really moving at any speed. You are going to be using a short lens anyway.
> Because there are so many bodies and body parts in the way, these shots are among the most difficult to get. You have no real time to compose and you are not the only one tying to get a clear shot, add the tv cameras, sound people and reporters to the mix make it difficult.


Is it a weather sealing issue as much as anything?


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## Big_Ant_TV_Media (Feb 8, 2017)

Don Haines said:


> Buck said:
> 
> 
> > eosuser1234 said:
> ...



the 5d4 AF is better then the 7D2 its a baby 1dx2


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## Hector1970 (Feb 8, 2017)

There must be so many photographers at the Super Bowl taking exactly the same photograph. 
You have photographers taking photos of the players at the end and photographers taking photos of photographers taking photographs of players. Very few of them must get published.


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## Buck (Feb 8, 2017)

Is it a weather sealing issue as much as anything?

I only recall one game played in a rain storm, Colts-Saints in Miami. Just cover your gear with plastic, a smaller body with a small lens is going to spend most of its time under your rain poncho anyway.
Most auto races aren't run in the rain, sometimes the victory lane ceremony will be moved to an area under cover if possible.

Looking at photo used here, the photogs are actually on the field of play here, which leads me to believe that these guys are shooting a team entrance onto the field as part of the pre game.


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## Big_Ant_TV_Media (Feb 8, 2017)

Buck said:


> Is it a weather sealing issue as much as anything?
> 
> I only recall one game played in a rain storm, Colts-Saints in Miami. Just cover your gear with plastic, a smaller body with a small lens is going to spend most of its time under your rain poncho anyway.
> Most auto races aren't run in the rain, sometimes the victory lane ceremony will be moved to an area under cover if possible.
> ...



umm that was colts bears 2006 smh


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## Mt Spokane Photography (Feb 8, 2017)

Hector1970 said:


> There must be so many photographers at the Super Bowl taking exactly the same photograph.
> You have photographers taking photos of the players at the end and photographers taking photos of photographers taking photographs of players. Very few of them must get published.



Each photograph is copyrighted / owned by the photographer or his company, and would be published by either his company, or he might sell it to Reuters, for example. Certainly, only a tiny percentage are actually published, but the ownership of the photo determines who can publish it. There are still a large number of publishers.


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## Buck (Feb 9, 2017)

my bad about the 2006 game, part of the reason behind the stadium renovation in Miami


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