April 24, 2014, 11:19:32 PM

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.


Messages - rs

Pages: [1] 2 3 ... 35
1
Technical Support / Re: Err 30 (stuck shutter) once - get it serviced?
« on: April 08, 2014, 08:02:10 AM »
A one off fault, while leaving you with a lack of trust of your equipment could be just that - a one off. It may never occur again, and the chances of a repair centre (no matter how skilled) of finding anything are minimal.

An intermittent fault is much more serious from your point of view, but similarly speaking there's no guarantee a repair centre will pick it up, even with someone testing it full time for weeks on end.

The only types of repair which are likely to be solved are either persistent faults, or intermittent faults which you've managed to work out exactly what conditions invoke the failure.

In other words, if you don't get the error again, leave it.

2
PowerShot / Re: The manual for the G1 X mark II is published
« on: March 27, 2014, 10:00:42 AM »
No 14-bit RAW or AdobeRGB; boo-hiss!

from Canon's website:
http://www.usa.canon.com/cusa/professional/products/professional_cameras/pro_ps_digital_cameras/powershot_g1_x_mark_ii#Features
(...)Shooting and Recording Modes Including 14-bit RAW + JPEG
The PowerShot G1 X Mark II offers a host of shooting and recording modes ranging from fully automatic to fully manual, plus Full HD movies and full-resolution high speed continuous shooting. The camera recognizes 58 shooting situations, automatically optimizing settings for achieving the highest quality shots on the go. Alternatively, you can exert complete creative control over the look and feel of your images. 14-bit signal processing, just as in EOS-series cameras, gives images notably rich detail and smooth gradation, and RAW images are available in a choice of 3:2 or 4:3 aspect ratios. Compared with 12-bit processing, 14-bit offers a 4x increase in RAW data for a visible impact, giving images rich detail in both highlights and shadows as well as smoother, more natural tonal gradation for outstanding image quality.(...)


Thanks for debunking that for me; I recall reading it in the specs but I can't remember where, & I couldn't find anything on it in the manual.  I'll still miss the AdobeRGB (my Fuji X10 does it!) but the lower bit depth would have been more of a bummer.

If you shoot raw, the colour space in the files is limited purely by the sensor. Any pre-defined colour space standard is only applied as you convert the raw file to a format such as jpeg - so you can choose what you like at that point - sRGB, Adobe RGB, ProPhoto RGB etc... Cameras only offer an option of colour space for the jpegs it creates.

3
EOS Bodies / Re: New Full Frame Camera in 2014? [CR1]
« on: March 26, 2014, 12:06:41 PM »
Can movie theaters show 4K movies with their digital projectors?  I'm not really sure what resolution the average 'non-hollywood' film is shot in though.  I would assume it is 1080p or the wide screen equivalent.

http://en.wikipedia.org/wiki/Digital_cinema

Quote from: wikipedia
In digital cinema, resolutions are represented by the horizontal pixel count, usually 2K (2048×1080 or 2.2 megapixels) or 4K (4096×2160 or 8.8 megapixels).

4
Third Party Manufacturers / Re: Patent: Tamron 10mm f/2.8 Fisheye
« on: March 25, 2014, 09:04:11 AM »
Wondering if it would be for Full frame or cropped sensors... Don't have much experience on Fish eyes, but I am quite sure I will buy one at some point in the future, after so many other adquisitions!

Cheers!

Victor
It doesn't say the image height in the patent, so its not too clear. However, typically fisheyes for APS-C are around the 8 to 10mm mark, whereas fisheyes for full frame bodies are around the 15mm mark.

5
Considering the left lens' bulbous element and small hood, I'd guess it's wider than 10mm.

Edit: then again, it looks like knobs on the barrel - maybe a tilt-shift lens?
I think you're right about the knobs, but I don't see the front elements at all, just the hoods.
To me, it looks like an ultrawide (possibly fisheye) cine lens - the very shallow lens hood and gearing give it away.

6
Lenses / Re: Thinking about this but wanting your thoughts....
« on: March 17, 2014, 06:49:36 PM »
Any lens which is compatible with extenders will physically work with any EF or EF-S mount body. However, if the resulting combo has an f8 max aperture (such as a 70-200/4 and 2x TC), it won't AF with most bodies.

The 70-200 II with a 1.4x TC gives you a 98-280/4 lens, which is equivalent to a 157-448/6.4 lens once the 1.6x crop is taken into account.

Likewise, with a 2x TC it's a 140-400/5.6, which is equivalent to a 224-640/9 lens when mounted on the 70D.

As for the quality, take a look at this for the quality on a 60D compared to your old 550D and 55-250 (actually a 50D):

http://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=687&Camera=736&Sample=0&FLI=4&API=1&LensComp=456&CameraComp=474&SampleComp=0&FLIComp=5&APIComp=1

That's with the 1.4x TC wide open (one stop faster than the 55-250), and the 70D should yield better results than the 60D.

Here's with the 2x TC compared to the native lens, again on the 60D:

http://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=687&Camera=736&Sample=0&FLI=5&API=2&LensComp=687&CameraComp=736&SampleComp=0&FLIComp=3&APIComp=0

As for the 100-400 II, some people have been waiting years for that. It might be the very next lens to be announced, but equally you could end up waiting another 5 years and see nothing...

7
Purely from a technology capability standpoint, I wonder if it's possible to get the same lens + 2X converter performance with an 800mm lens, than photographers are getting with the 300 f2.8 + 2X converter.

Yes, I do know the 1.4X converter delivers better results.
I'd have thought that in theory it would be. Having results which look great wide open with the 2x on a ~20MP body would indicate that the bare lens or even lens + 1.4x would look great wide open with a possible future high MP body.

Other than an indicator of the quality of the lens, I can't see much call for using an f5.6 lens with a 2x TC myself. The resulting f11 lens wouldn't AF on any body (excluding DPAF), and it doesn't leave you many options in terms of apertures for maximum detail due to diffraction.

8
Lenses / Re: Canon 70-200 f2.8 IS III
« on: March 16, 2014, 02:23:21 AM »
It's pretty much guaranteed to not be updated within the next year. A lens as significant as that isn't likely to sidestep the rumour mill such as a new 18-55 can, and from rumours to physical product on the shelves can take quite a few years - just look at the 100-400 mk II situation.

It was only released in 2010, and before the advent of the Canon 200-400 it was described as the best zoom lens in the world. No third party or rival OEM manufacturer has a genuine answer to this lens. There's clearly not too much to improve.

Go for it. It's a simply great addition to your 24-70 mk II

9
The 300-600 MkII supertele lenses were something like 18 months from development announcement to launch.  Hopefully Canon can do better...
Lets hope that was in part due to getting new materials into a production ready state - which has already been done, so let's hope this one is faster. 

From a spec point of view, an optical refresh so it outperforms the 600/4 with the 1.4x TC wouldn't go amiss, together with less weight than it's predecessor. And what about an integrated 1.4x TC like the 200-400 has? An 800/5.6 switchable to a 1120/8 at the flick of a switch?

10
EOS Bodies / Re: Calumet Photo Files Chapter 7 Bankruptcy
« on: March 14, 2014, 06:17:21 PM »
Whoa! I should have looked at the court filing first. They are listing less than $50,000 in assets. I'm guessing there are individuals on this forum (not me) that have more than that in Canon equipment.

I don't know how this works in the camera retail business. Is it customary for a supplier to retain ownership of the stock until it is sold?

Maybe it will be the Canon refurbished store that gets all this stock back?
When Jessops went under in the UK, almost all of their stock was owned by the distributors/manufacturers, and was reclaimed. As far as I know, only items such as Jessops branded filters and bags were left.

11
EOS Bodies / Re: Patent: EF 16-35 f/4L, 17-40 f/4L and Others
« on: March 10, 2014, 01:08:57 PM »
But I don't understand why people need a wide angle with F2.8. You don't do portrait with a wide-angle that had "by nature" some distortion.

You use the wide angle at F8, 10 and more..  so why bother and pay for a "new" f2.8 that would be heavier and much costly...  New versions cost always a lot more with canon.
Events (plus of course other examples like astrophotography mentioned above). Sometimes you need a wider angle of view than 24mm, and sometimes light levels are too for the subject movement, and flashes aren't always appropriate. While bodies are getting better and better at high ISO's, adding a whole stop of light gathering with the lens is quite attractive.

Yes, landscape, architecture and many other uses for an ultrawide rectilinear lens don't go hand in hand with a fast aperture, but just because it isn't for you doesn't mean not for anyone.

12
Canon General / Re: In need of a "walk around" camera
« on: March 06, 2014, 04:59:13 PM »
6D and 40/2.8

13
I find when event shooting I tire out trying to continually see if the focus is locked on where I need it to be so I shoot one shot most of the time for focus confirmation. When people are moving towards or away I switch to AI Servo. I agree that AI Servo works well for static objects and many people leave it on.

I still to this day wonder with the technology out there why Canon could not provide a dedicated button or an assignable one that when you press and release switches to the other shooting mode. Maybe an indicator in the viewfinder. Even if you can assign another button yo have to hold it which I find uncomfortable. I just usually use the Q screen. It is typically on the FEC setting as I'm always tuning the flash so it takes a few extra seconds and is still a bit of a pain.         
Custom modes. You can have a whole raft of settings saved, available to you in an instant. Personally I use C1 for portraits/landscape etc - one shot AF, central AF point, AV mode (defaulted to wide open) etc. C2 is for action - AI servo, all AF points, Tv 1/500th etc. C3 is for flash - M etc.

15
No word on apertures or bodies used for the test, but judging by the different magnification, the Nikon and Zeiss were probably tested on a higher MP body than the Sony and the Sigma. Although having said that, both the Nikon and Zeiss are longer than 50mm.

I'm guessing the Nikon and Zeiss were on a D800, and the Sony was on a 24mp FF body. The Sigma looks to be tested on the same resolution too, but I'd have thought Sigma would make a Sony mount last, so possibly Canon mount on an A7?

Anyway, to me the Sigma appears slightly better than the Zeiss - but this doesn't reveal much - clearly different post processing, lower MP to hide problems, and no word on what aperture setting was used.

Pages: [1] 2 3 ... 35