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Off Brand: KODAK PRINTOMATIC Instant Print Camera Captures the Moment

As always, the devil is in what they don't tell you in the specifications and PR. We have hundreds of Polaroid Color prints of our family from the 1960, and 1970's that are pretty much just blank sheets, the images have faded away. The B&W polaroids are still fine.

At least, the camera apparently saves the digital images.

This part made me smile

" Wedding guests can snap candid photos of the ceremony and have them printed and framed before the reception starts."

I've never thought of framing a 2 X 3 inch image, but I suppose that a person could get one of the frames intended to display many smaller snapshots, stick them in place, and hope they don't fade out in 6 months.

Does it use flash cubes ;)
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Geared Tripod Head

AcutancePhotography said:
This does point out that buying used equipment increases the risk of getting something that does not work as well as a brand new version.

Caveat emptor. It can be hard to determine if the savings are worth it.

Buying used equipment can result in some really good deals... and sometimes not so good deals.

I could have returned it, the seller is a well known photographer and would have taken it back, but it is functional, just more slop and play than I want when fully loaded. I used it with my SL2 plus a old Sigma 600mm mirror lens the other day. It works better with the smaller amount of weight.

The AS plate on it is worth 1/2 of what I paid. I will look into ordering parts. I am so deaf that I avoid the phone, and emails often do not get returned.
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D850 may pack a hybrid OVF/EVF?!

snoke said:
privatebydesign said:
Too often we lose sight of the fact that photography is about capturing light, if we have the ability to take control of that light then we grow exponentially as photographers. More often than not the image is not about lens speed, sensor size, DR, MP's or AF, it is about the light.

I like this. Give me control of sun for perfect photo :)

Sadly, there seem to be many people who believe that with better sensors, lighting is optional, and everything else can be fixed in post >.<

Personally, I think they picked up the wrong hobby. For the amount of money they purport to be willing to spend on photography, they could buy a professional rig for 3DSMax.
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Sigma 24-70mm f/2.8 DG OS | ART Review | Dustin

MrFotoFool said:
@jd7 - I am in the same boat as you. I own the 24-70 f4L IS which has the very handy macro switch. I may end up keeping it for that feature, though of course it's a great lens overall. Since I primarily use my 24-70 at 24mm, the Sigma is discouraging. (Another review thread I read also said it was soft at 24mm).

Based on initial user reviews of the already released Nikon version of Tamron G2, that sounds like the better option. I will look forward to Dustin's comparison of the two.

@MrFotoFool, I spent the weekend shooting with a Tamron G1 and it didn't really do anything I wrong, but I just wasn't wowed by it. Many of the images just seem to lack a touch of crispness (for want of a better description) somehow. And I was not a fan of the placement of the zoom ring v focus ring or the fact the zoom spins the opposite way from a Canon zoom. I'm actually surprised at how much those things put me off! Guess you'd probably get used to if you used it all the time. Anyway, at this point I think I'm picking between staying with my f/4 IS or switching to the f/2.8L II. While I'd like to have 2.8 available, I still feel unsure if I want to trade IS, macro mode, weight and size for only 1 extra stop, especially when even then it's still 2 or even 2.5 stops behind fast primes in the same focal length range. I see so many people singing the praises of the f/2.8L II though - perhaps one of those lenses you have to experience to appreciate??

Dustin, I had a look at your video on the build quality of the Tamron G2, and I'm really looking forward to hearing your thoughts on its IQ. Like others, I very much appreciate that you give your opinions on how the lens performs for real photography and show examples rather only looking at measurements of things like sharpness.
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85mm f/1.2L II vs 85mm f/1.4L IS

I've always wanted a 'bokeh monster' and the 85mm was the focal length I always set my heart on

As it is, the new 85 is what I'm looking at. I do know that the f/1.2 is a legendary lens but time has moved on and we have a new piece of kit that can write its own story now.

It'll be interesting to see which resolves better on the newer, high MP cameras like the 5DSR and so on

But photographers are in general rather educated on what they put into their kit bags. I'm sure we'll all be making decisions that fits our need, pocket and sensibilities
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Lenstip review of Sigma 500mm sport lens

those samples with the converter don't look too good to be honest

If you check the digital picture review tool, you can also see the Canon 500 II is doing a better job with the converter: https://www.the-digital-picture.com/Reviews/ISO-12233-Sample-Crops.aspx?Lens=745&Camera=453&Sample=0&FLI=1&API=1&LensComp=1086&CameraComp=453&SampleComp=0&FLIComp=1&APIComp=0

If you'd only use this lens without a converter, I'm sure you won't notice much difference in sharpness (real life focus is a different thing; don't read too much about that in the test), but if you shoot converters, which probably a lot of 500 shooters would do, then I'm not sure if this is the one (despite the price difference)
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Lexar taken over by Chinese firm Longsys

RGF said:
AvTvM said:
RGF said:
In the winter, even with liner gloves, I find SD cards hard to handle. Rather not go bare handed with it subzero F or -20 C

on theory yes. in practice i cannot recall ever having to swap cards in the field. at least not since i am using microSD cards from 32 GB upwards. at least if one does not capture video.

even 128 GB microsd cards are quite affordable now. i'd love to get a camera with dual micro sd slots recording in parallel - both slots running at full uhs II (or soon uhs iii) speed, without slowing down camera (as in any current dual slot canon camera whete only 1 söot is fast and the other one is dead slow and 2 generations behind current standards).


I don't erase cards till I get home. THey are my final backup. So it is not uncommon for me to fill a card in the field. For example, if I have 32 GB card that is 60% full, I can easily fill it if I have a great day in the field.

i use a fresh/empty card every day. swap of cards never in the field/during action. 64gb MicroSD cards are quite cheap by now and get me through any day of shooting, including a full wedding ... raw of course. ;-)
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Multiple APS-C Sensor PowerShot Cameras Coming? [CR2]

Seems like a no brainer as the G3X and G5X kind of fizzled compared to Sony.

Canon Rumors said:
We know that the Canon PowerShot G1 X Mark III will be coming soon, though an exact date is unknown. One of the big changes rumoured in the new G1 X is the <a href="http://www.canonrumors.com/canon-powershot-g1-x-mark-ii-specifications-cr1/">use of a 24mp APS-C sized sensor instead of the 1.5″</a> in the current G1 X.</p>
<p>We’re being told that there will be more APS-C sized sensor PowerShot cameras coming and that the G1 X Mark III is first, and then we’ll get a G3 X Mark II and a G5 X Mark II. The source is not sure if the smaller G series PowerShot cameras like the G9 X and G7 X will move to APS-C.</p>

<p>There was no mention as to whether or not the new PowerShot cameras would get 4K recording, which is something we obviously get asked a lot. Our hunch on the topic? I think Canon has to add 4K to at least a few of the models.</p>
<p>As <a href="http://www.canonrumors.com/buyers-guide-category/powershot/">you can see on our buyer’s guide</a>, the upper end of the PowerShot G series lineup is starting to look quite long-in-the-tooth.</p>
<p><em>More to come…</em></p>
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Firmware: Sigma 24-70 f/2.8 DG OS Art & 100-400 f/5-6.3 DG OS HSM

privatebydesign said:
Now what would be the tidal wave of hate from the forum if Canon were to do something like that?.........

LOL. Truth. :)

To be honest, it left a sour taste in my mouth with Sigma. I would be just fine if it were possible to downgrade the firmware back to the original firmware; it would have probably prompted me to buy the TC1401 rather than compromise between better AF and extender compatibility.
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Off Brand: Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera System

Re: Off Brand: Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera Syste

No 8k, Sony is doomed.
Seriously, though, I hope they do not cripple their future consumer or prosumer cameras by leaving any of these features out. I relly hope a7 iii has an interchangeable sensor block, no need for separate S or R bodies. If not, it will be useless.
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Canon Japan Announces Flat Rate Repair Pricing for Rebels as Well as EOS M Cameras and Lenses

AvTvM said:
I dont like flat rate repair prices. It just means that every freakin little repair issue costs a bundle. I bet, Canon makes way more money out of this scheme than out of reasonable repair prices depending on type/amount of damage.

I agree. Maybe this isn't a big deal to most, but it's a real turn off for me towards Canon. $230 for even the smallest of out of warranty repairs for a camera that costs $500 or $600 is ludicrous in my opinion. Granted, the vast majority of my Canon cameras and gear have given me no problems and needed no repairs in the years I've been using them. But having to ante up $150 this week for what was most likely faulty glue and a loose ribbon on a poorly designed tilt screen mechanism doesn't inspire me with confidence.

Whereas recently I had been considering investing in a third FF DSLR to go with my 5D4 and replace my aging (but still kicking) 5D2, and upgrading to the M5 from my M3, now for the first time ever, I'm considering looking at some other company that doesn't withhold modern features, charge a premium, and then charge another premium when you need a repair.

I never worried about repairs with my Canon gear before. But learning there were others that experienced the exact same issue I had with the M3 and the fact that it happened after only 2 years of use (compared to the at least 5 years I've used any of my other bodies without problems) robs me in a lot of confidence in Canon's current QA.

And interestingly enough, that flat-rate price tier, from what I can tell, doesn't mention regular EF or L lenses at all.

I have to imagine this is some greedy new strategy concocted to get people to just buy a new camera instead of going through the prohibitively expensive hassle of repairing it.
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5D mark v - when & what?

SecureGSM said:
Larsskv said:
If you compare a APS-C CENTER crop of a FF frame that has the same pixel density as an APS-C camera, and all other factors are the same, you will get the exact same image on both. In this scenario you use the center sharpness of the lens on both the FF sensor and the APS-C sensor.

1. correct.
2. nope, same lens was used, approx. identical light levels, same ISO and aperture. No correction at all, RAW files were used for comparison. to call this fenomenon a surprise is an understatement. :)


.. My guess would be that the difference in sharpness between the 5DIV and 5Ds/r on pixel level is due to the sharpness of the lens you are using. Smaller pixels demand a sharper lenses in order to get pixel level sharpness.

If you have used the same lens on the 80D vs the 5Ds/r, have applied the same amount of sharpness afterwards, and still experience that the 80D is significantly sharper, well then I would be very surprised as well.

Has the lens been AFMA'd?
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6D Mark II will not power up...

Sounds like a good suggestion to notify your vendor the camera died and you want a refund. Get the return paperwork rolling and if possible ship it back before you leave. Take your Canon len(s) with you and buy a new body in Hawaii.

I would never leave myself in a situation where I only had one body and was planning a major trip. When I went to Easter Island, I took a 6D and a 60D. When I went to Alaska I took two bodies, and when in England I had my 6D and 5DsR. I still have my 40D, and it takes perfectly good pictures. In a pinch I would be more than satisfied to shoot my 40D over my iPhone.

My original Rebel (D300 ?) was failing after 8 years and I had two 28-135mm zooms where IS failed. At no time was I stopped by a single point of failure. Own at a minimum two bodies and two lenses, even if some are old. If someone says you cannot take a good picture with a 10 or 12 megapixel camera, ignore them. As to the 6D II having a poor dynamic range, give me a break. There are many professionals shooting the 6D, and I am sure will use the 6D II. Too many amateurs worry about the numbers game specs and neglect to actually carry their gear and push the shutter button.
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Off Brand: Hasselblad Launches X1D Field Kit

HTML:
Do you need a larger than full frame sensor kit to compliment your Canon setup? Well, Hasselblad has you covered! You can save about $1000 USD buy buying these items as a kit instead of individually, plus you get a free Pelican case.</p>
<p>This is definitely a loved camera by the select few who have had a chance to shoot with it.</p>
<p>For the record, this camera does not shoot 4k video.</p>
<p><strong>The Hasselblad X1D Field Kit

</strong>Within the comprehensive package, photographers will find all the equipment they need for a variety of photographic conditions, including the X1D-50c and 3 XCD lenses (30mm, 45mm, and 90mm), which deliver edge-to-edge sharpness in a compact form to elegantly match the slim build of the body.</p>
<p>The inclusion of cleaning equipment (a cleaning cloth, dust blower, and lens pen) ensures that photographers can easily keep their kit in perfect condition, so it’s always clean and ready whenever creativity strikes.</p>
<p><!--more--></p>

<p><strong>Rugged Pelican carrying case

</strong>The rugged pelican case has a custom cut foam insert that protects your gear. The foam layout is also made for easy access, so that you quickly can get your hands on the equipment you need when you’re out there.</p>
<p><strong>X1D Field Kit contents

</strong>The package includes the following items:</p>
<div class="">
<ul>
<li><a href="https://bhpho.to/2gQCSWN">X1D-50c Camera</a> (silver) $8995</li>
<li><a href="https://bhpho.to/2xeC4SD">XCD 3,5/30mm Lens</a> $3995</li>
<li><a href="https://bhpho.to/2gPip4M">XCD 3,5/45mm Lens</a> $2695</li>
<li><a href="https://bhpho.to/2xeUPp2">XCD 3,2/90mm Lens</a> $3195</li>
<li>Rugged Pelican carrying case</li>
<li>2 camera batteries</li>
<li>Shoulder and wrist strap</li>
<li>USB cable</li>
</ul>
</div>
<p><strong>Availability

</strong>The X1D Field Kit is now available for order online and will begin shipping on September 20th 2017.</p>
<p><strong>Preorder</strong>

<a href="https://bhpho.to/2xeAOPp">You can preorder the Hasselblad X1D Field Kit from B&H Photo</a></p>
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ROTOLIGHT Announce Strategic Collaboration with Elinchrom

HTML:
<em>Rotolight to enhance its product range with integrated Skyport Wireless Protocol</em></p>
<p><strong>Pinewood Studios, London, 31st August 2017:</strong> Rotolight, an award-winning British LED lighting manufacturer, has teamed up with Elinchrom one of the world’s best known photographic lighting systems manufacturers, to integrate its unique Skyport Protocol across its product range, starting with NEO 2 to be unveiled at a major launch event on September 4th.</p>
<p>Rotolight has collaborated with Elinchrom to integrate its Skyport 2.4Ghz high speed sync (HSS) wireless flash receiver into NEO 2, eliminating the need to purchase a standalone flash receiver, while also providing rock-solid reliability, range, flexibility and control for multiple off camera lighting setups. Skyport enables users to wirelessly control up to 10 lights, in four groups, at a distance of up to 200m(656ft) with the new Rotolight HSS transmitter (capable of 1/8000th), which has been optimised for Rotolight by Elinchrom. It is available on launch for Canon, Nikon, Sony, Olympus and Panasonic camera systems (with Fuji to follow next year), and is compatible with all other Elinchrom Skyport devices.</p>
<p><!--more--></p>
<p><i>“Elinchrom Skyport represents the best in class wireless HSS triggering technology, and its combination with Rotolight’s pioneering LED product range, will provide creative imagemakers with a unique innovative feature set, and unrivalled consistency and reliability” said Rod Aaron Gammons, Managing Director of Rotolight.</i></p>
<p>Rotolight recently announced the world’s first continuous LED lights with HSS flash capability, providing a game changing product to photographers and filmmakers who want an all in one solution. Unlike traditional strobe/flash, AEOS and the upcoming NEO 2 have no recycle time, which ensures users never miss a shot, making them the perfect choice of light for today’s modern high-frame-rate-capable cameras.</p>
<p><i>“Rotolight is a highly innovative company, with a unique set of industry first products, and we were very excited to work with them when they approached us to integrate the Skyport technology into their product range. The integration is great for both companies, and for Rotolight’s customers, they gain a rock solid, ultra- reliable, state of the art, High Speed Sync wireless triggering technology” said Simon Whittle, CEO of Elinchrom.</i></p>

<p>Filmmakers will also enjoy the benefits of the Skyport integration, providing them with wireless remote control of colour temperature, brightness, and remote triggering of Rotolight’s CineSFX, an award-winning suite of customizable cinematic lighting effects, such as lightning, fire, gunshot, paparazzi and TV flicker to enhance video productions.</p>
<p><b>Simon Whittle, CEO of Elinchrom said:</b> <i>“Our ambition is for Skyport to become an industry standard technology, eliminating the need for expensive, proprietary trigger systems that prevents photographers from working with their lights of choice. We are extremely excited to be working with Rotolight, a disruptive innovator in the lighting industry with a unique set of industry first features. This collaboration between both companies will provide creative imagemakers with a state of the art solution that is uniquely versatile, whilst also being rock solid and consistent”.</i></p>
<p>For more information visit www.rotolight.com</p>
<p>Image Resources for this release are available from: <a title="Link URL" href="https://goo.gl/Fod3wp" target="_blank" rel="noopener">Image Folder Link</a></p>
<p><strong>About Rotolight</strong></p>
<p>Rotolight, based in Pinewood Studios, UK, is a leading manufacturer of award winning on-camera, studio and location LED lighting systems for photography, broadcast and cinematography. Rotolight’s products are regularly used on blockbuster motion pictures and are in high demand by discerning professionals worldwide. The company’s passion for innovation and excellence, coupled with a relentless quest for accurate colour, quality and consistent performance, sets it apart in the market. Rotolight has recently created some of the most talked about products in the industry, and will keep delivering inspirational products that help its customers’ creativity blossom. Visit</p>
<p><strong><a href="https://www.rotolight.com/mailshots/press/elinchrom2017/index.html#">www.rotolight.com</a></strong></p>
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Off Brand: Fujifilm Announces X-E3 and XF80mmF2.8 R LM OIS WR Macro Lens

Canon Rumors said:
The new XF80mmF2.8 R LM OIS WR is a lightweight, mid-telephoto macro lens designed to deliver the very best results from Fujifilm’s unique X-Trans CMOS sensor.

Seriously, Fuji?

It weighs a hefty 750 g compared to Canon 100 mm f/2.8L IS Macro. The latter is designed for full frame sensors and only weighs 625 g.

Sigh... All the weight advantages of MILCs have just vanished. ::)
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Rental Camera Gear Destroyed by the Solar Eclipse of 2017

I used an inexpensive Daystar universal solar filter i bought for about $25. It's just a Mylar film filter in a cardboard holder. I bought it from B&H a few days before the eclipse. By then all of the glass filters had sold out and I wasn't too keen on paying several hundred dollars for a filter anyway. I was only going to use it once for half an hour. I tested it on the 7D2 first and it seemed to work fine.

I attached it to the hood of my 100-400L II with gaffer tape. My reasoning for that being all I had to do was remove the hood for totality. I got a bit of flare for the last two diamond ring shots but I was auto bracketing and those were overexposed and not really usable regardless of the flare. I may have gotten the flare even if I had the hood attached. I couldn't get the film to lay perfectly flat but that didn't appear to distort the photo's. I'd do it that way again although I'm not sure I would bother photographing the partial phase again. Although Thousand Oaks sells film filters in larger sizes there but was just no way I was pointing my 600 f4 directly at the sun no matter what filter I had on it.

I was pretty careful. Had a white towel over the lens and body and only swung the camera up briefly to shoot a bracketed sequence and then lowered it again. The film definitely softened up a bit when it was aimed at the sun during the early partial phases. I was a bit worried I have to admit but everything seemed to work out fine. At least so far. If my cameras brick-up in the next few weeks I guess I'll know why.

https://www.bhphotovideo.com/c/product/1319799-REG/daystar_filters_ulf90_90mm_universal_lens_filter.html
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Improving 5D MK lll skin tone

chauncey said:
Why worry about skin tones...when ya shoot in RAW, you adjust skin tones in your PP software using the methods previously mentioned.
Aah...you do shoot in RAW...right.
Well I for one do not know how to produce a realistic skin tone from a RAW file. Whenever I have tried to adjust the colours myself it has ended up looking as if the skin has been coated in beetroot juice.
That is the benefit of the xrite colour checker passport - I just choose the profile that the software created and it changes the colours automatically without me having to make any adjustments at all.
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