September 23, 2014, 06:42:57 AM

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Messages - rs

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I've not found any info about anyone seeing/reporting on this lens from Photokina. Was it not actually there, or is there somehow just so little interest in it?

It's already announced, see below :)

I know its been announced - I've already commented on it two or three times. It's just i've not heard about anyone actually seeing it at Photokina, let alone any more info or hands on time.

I've not found any info about anyone seeing/reporting on this lens from Photokina. Was it not actually there, or is there somehow just so little interest in it?

PowerShot / Re: New PowerShot Digital Compact Camera Under Development
« on: September 22, 2014, 07:40:43 AM »
Sounds like an RX10/FZ1000 rival

The Samsung does 420MP/Sec.

The Samsung is also saving 12-bit files during continuous shooting vs. the full 14-bits in single shot mode.

I'd like to know what other shortcuts Samsung are taking to achieve 15fps. Many mirrorless cameras suffer from no viewfinder and no continuous AF at their highest frame rate.

If they have somehow nailed it with a working viewfinder and continuous AF in continuous shooting, the next thing I'd like to know is how good is its execution? Is the viewfinder good enough to let you track what you're shooting as well as a DSLR, does the AF produce as many in focus shots as its DSLR competitors, and how deep is the buffer?

EOS Bodies - For Stills / Re: Which Canon L Lens for 7D Mark II?
« on: September 21, 2014, 04:47:37 AM »
I am about about to upgrade from my Canon T2i to the 7D Mark II.  I consider myself an enthusiast trying to make the move to pro.  I decided that with my 7D Mark II purchase I would buy my first Canon L lens.  The plan is to be an all purpose photographer doing weddings and other events. 

Which of the following lenses would you get?

Canon EF 24-70mm f/2.8L II USM Standard Zoom Lens

Thanks for your input.

Canon EF 70-200mm f/2.8L IS II USM Telephoto Zoom Lens
Events require a lens with a focal range that starts much wider the 24mm on a crop body, so rule out the 24-70 and 7D2 combo straight away. And likewise, 70-200's work great for weddings and other events, but only on full frame. I personally would never dream of using my 70-200 on my crop body for an indoors event.

Before we all start saying "no, don't get a 7D2", what lenses do you currently have? Certainly the best setup for weddings would be a FF body (such as a 6D) and both the 24-70 II and 70-200 II, but that is more cash than you were talking about here. If you currently have some very good EF-S lenses, getting the 7D2 to use with your existing lenses could make sense. Otherwise, get a 6D as a second body, and buy the FF version of whichever focal length range is weakest with your T2i lens selection.

Lenses / Re: New 400mm DO II not suitable for converter?
« on: September 21, 2014, 04:02:14 AM »
Canon have provided pretty impressive MTF graphs with both TC's, so I'm putting money on it working with them.

EOS Bodies / Re: 7D Mark II Video Tested By Gizmodo
« on: September 18, 2014, 05:56:09 PM »
This is my take on it: That brick wall in the background of the first scene has some pretty heavy moire on the 70D; the 7D mk II and 5D mk III seem to be much better on that front. In terms of sharpness, in this test the 5D3 is better than the other two. When it comes to noise, the 7D2 appears to be between the other two, possibly closer to the 5D3.

EOS Bodies / Re: High ISO Samples from the Canon EOS 7D Mark II
« on: September 17, 2014, 05:05:45 AM »
I have a 550D and i see no difference at all.   :o

What difference are you expecting, exactly?

Quote from: pleasehelp
To be honest i wonder first and foremost that i see no difference at all after so many Sensor generations.

I mean is this already the end of what we can expect?
Is there only an ISO improvement from now on?

Well, assuming the 7DII sensor is basically similar to that in the 70D (minor tweaks), you're talking about one generation.  One.

Sorry im not up to date.

But that "generations" was of course in reference to my 550D.

Since my 550D, i bought 2010, nothing has happend?

Image quality in my compact cameras has made big steps forward.
When i compare images from my old P&S cameras to todays i immediately see a difference.

When i look at the 7D MK2 pics they look exactly like my 550D images.  ???
I don't understand what you're expecting to see? Resolution and sharpness are hidden at 1920 pixels wide, DR isn't an issue with lighting like that, and high ISO looks pretty impressive. Other than handling (which the pictures can't reveal), the way the scene is rendered is down to the lens.

Premium compact cameras are getting bigger sensors and faster lenses. This APS-C camera still has an APS-C sensor, and still has access to all the same lenses your camera does. What are you expecting?

Because actually, the link for the C lens in Maximilian's post is wrong.
Yes, sorry! Link was wrong,  c&p error.
And I just looked at the links quickly on my phone. Well spotted.

Why do the mtf graphs of the two different lenses look identical?  :o

EOS-M / Re: AF speed 40/2.8 vs 85/1.8
« on: September 11, 2014, 05:20:57 PM »

A little surprised the 85/1.8 is quieter than the 40mm.... isn't the STM supposed to be a quiet motor?
STM lenses make a high pitch noise, almost similar to a loud version of baldy shielded processor noise leaking into amplifier circuitry. Nothing like the volume of micro motors of older cheap lenses. It's almost completely silent, and great for video work. USM motors are silent to all intents and purposes, although there is typically the noise of components other than the motor - the internals of the lens gliding over each other etc. And of course there's the fairly abrupt torque as the AF system start/stops to achieve its fast focus acquisition speed. This is no good when it comes to slow, smooth video AF requirements as the USM system will go through a constant start/stop sequence.

So - for video with DPAF, STM is significantly quieter and smoother (both for focus smoothness and torque/recoil you feel as you hold the lens), whereas USM is a little quieter and typically much faster for images.

Easy answer.

1. 7d and 500mm f/4 is 800mm equivalent and f/5.6 equivalent like DOF capabilities and rendering the fore/backgorund.

2. 5d iii and 500+1.4 is 700mm f/5.6 mm lens

Nearly - the 1.6x crop makes a 500/4 equivalent to a 800/6.4 lens vs a 700/5.6 on FF with a 1.4x TC

So in reality, the 800/5.6 behaves much like a 1280/9 on crop, vs an 1120/8 on FF and 1.4x TC.

I'd also argue that the supposed 7D2's AF system would be focusing at f5.6, vs the 5D3 at f8 - that should be an advantage, plus the FPS is nearly doubled. As stated, there's more than the theoretical 1.3 stops difference in S/N between the 5D3 and 7D1, so the gains of the faster lens are more than lost. But this is the unknown quantity of the 7D2 - who knows what it's S/N is?

You do not want 800 for crop. Your subject will be to far away and the air between the lens and the subject will blow your IQ. Believe me. Even 600 is to long for crop sensor.

Depends upon what size object you're focusing on. If it's as small as the lens can frame, you're only 6m away from the object - no issues there with the amount of air. If the humidity, pollution and heat haze levels are favourable, 100m could be perfectly fine. And other times getting closer simply isn't an option, so starting off with a competent lens/body can't hurt, even if the conditions aren't the best.

Lenses / Re: DXOMark Reviews Zeiss Otus 85mm f/1.4
« on: September 10, 2014, 01:17:44 PM »
Has anyone noticed that the 'true' max apertures as indicate by the Tstop is nowhere near the manufacturers claim? The Zeis is closer to a f1.8 lens than f1.4 and the rest fare no better....

T value is not aperture value, an f1.4 lens is a "true" f1.4 if the apparent aperture diameter is focal length divided by 1.4. The T value relates to actual light transmission and is pretty much irrelevant with TTL metering stills cameras.

Aperture value is always lower than T (transmission) value because however good the glass is you always lose some.

Nothing is completely transparent - even the air inside the lens. And if you can see any reflections on any of the elements within the lens when peering through the end, that's light which hasn't made it through.

12mm for full fisheye coverage? Insane... 15mm is hella-wide as is with fisheye.
A typical fisheye at 15mm provides 180˚ coverage, corner to corner. Typically you can't get any wider than that without mechanical vignetting in the corners (as is the case with the 8-15 when zoomed below 14mm), or with a lens wider than 180˚ (some go up to about 185˚).

I believe the reason why this has a much shorter focal length is due to its projection - it is likely to be stereographic, which means it's much less obviously a fisheye. Most conventional fisheyes use a projection much closer to equidistant or equisolid, which tends to make the centre of the image bulge and the edges look all squashed. Stereographic looks much more natural. The centre is magnified much less, hence the typically shorter focal lengths to achieve the same angle of view.

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