Where is the CropBot? Or the APS-H Bot?

The 400 f/5.6L still doesn't have an equivalent in quality, AF speed, light weight at the price. You can get a used or refurbished one for 800.00 to 1,000.00. For specialized uses, it is unique. For most people, the Canon or 3rd party zooms are preferable for the IS.

The f/4. It also takes decently sized and priced filters. I was also pleasantly surprised how light it is after using smallish primes for wide for so long, the weight hasn't been an issue.

Dilbert posted something last week or so.

So no surprises thus far for The Photography Show for stands D141 / E131 in Hall 5.
Canon will be showing the recently announced trio of the EOS M50, EOS 2000D and EOS 4000D plus the new Speedlite 470EX-AI. Canon have also announced in time for the show their spring cash-backs (which normally are doubled on certain products at The Photography Show) and for the first time the EOS 5D MKIV fall below
£ 3,000. Canon will have 50 members of staff on-hand and being showing over 200 products to touch and try. Back again are the Canon Live Stage and the Canon Lifestyle Zone giving advice on online services, apps, wireless printing and merchandise.

I'm particularly interested in the new Speedlite 470EX-AI and will be taking my EOS 6D MKII to try it.

I did check with other main UK retailers, all at the new rip off price now. How to kill a market overnight.

It was bad enough at £4799. Luckily I got mine for 4599 from an authorised Canon dealer. I was tempted by the p/ex offer until I saw the new joke price.

I use an AcraTech "Swift Clamp"

This is the product at the manufacturer's site but you can get it from the major camera stores.

https://www.acratech.net/quick-release-clamps/swift-clamps/

This allows me to leave whatever arca-swiss type mounting plate I want to use on the camera. E.g. if you want to use an L-bracket ... you can do that because the Swift Clamp is the mounting saddle (you no longer use the tripod mounting bolt).

Would like to see a g9x mark III with a sharper lens (edge,corner sharpness). Maybe even with a 1.8-4.9 aperture lens but only as long as they could still make it weight less and be smaller than original rx100.

axtstern said:

...
My drill in past was to ... and I feel a little guilty for how I have treated my equipment.
...

Click to expand...

I can feel with you, acting sometimes quite the same.
Something quite helpful is to have the lens hood mounted. This helps a little bit from getting the front element (or filter) scratched or broken ;-)

[quote author=axtstern]
... tempted to throw the 35mm after the Artist just to get his attention.
[/quote]
Glad you didn't do that.
Just imagine camera equipment was forbidden in even more events because of potential use as a weapon.

Every six months there's a ray of hope for a new C100.
Every six months and one week, the darkness descends again and the wait continues.

At photophil.de you can find the 6dII at 1739€. After cashback it is 1539€.
My wife just ordered one there (and with a rebate of 40€ Because affiliate to a french forum it is 1499€ + 29€ for shipping). At this price it is a good option.
Same with 5d4. Finishes at 3099€.

Don Haines said:

Buck said:

What's the battery life on that robot, that a lot of weight to be moving around and have enough juice for a full days shooting.

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It probably uses the LP-6 battery.....

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A Sony battery charged by starlight and pixie dust.

Talys said:

9VIII said:

I've always wondered what would happen if I drilled a hole in the middle of my mirror.

Given the spread of line detecting elements on the AF sensor I'm betting it would actually have to be a series of perforated lines at very specific angles across most of the mirror, or maybe it would work best if the mirror were more of a mesh that reflected just enough image up to the viewfinder to be able to tell what you're pointing at?

The idea probably would work, and no-one would want to use it.

Click to expand...

This picture actually says it all Light passes straight throught he mirror, hits another mirror, and is reflected downwards on an angle to the sensor.

Click to expand...

Click to expand...

Which we can be pretty sure will accomplish nothing once you look at the layout of an AF sensor: https://www.the-digital-picture.com/Photography-Tips/canon-eos-dslr-autofocus-explained.aspx

http://pdfaiw.uspto.gov/.aiw?PageNum=0&docid=20180067333

Erm, so I've done my digging and skimmed through the patent but I'm too thick to understand it. Could someone tell me what it does? :-[

hne said:

HSS works by extending flash duration and HS works by chopping it.

Click to expand...

Not quite. Both try to make the flash emit light for as long as the shutter blades travel.

The light time needed is always one third stop longer than the max x-sync speed.

The shutter blades always travel at the same speed, no matter if you shoot at
30 seconds or 1/8000 seconds exposure time. The difference is the gap between
the two. At X-sync, the gap is exactly as wide as the frame.

One stop shorter, and the gap is only half as wide, so half the flash light
does not reach the sensor but instead is wasted on the shutter blades.

This counts for both HSS and Hypersync (and it's copies).

Select another stop shorter, and the shutter gap is halfed again,
and again the light is burnt on the shutter blades but does not
reach the sensor. And so on. No matter if you use HSS or Hypersync,
both burn the majority of light onto the shutter blades. Period.

The Elinchrom marketing claim is badly misleading, to say the least.

hne said:

When you turn on HSS you lose a stop, give or take.

Click to expand...

The same counts for Hypersync. Simply activating either of the two means
that the flash starts emitting light before the shutter blades start, and still
lights a small time after the shutter has closed again.

This extra preroll and postroll time cannot be used for the exposure, for
both techniques.

On top of that every stop shorter in shutter speed halves the gap between
shutter blades compared to a longer stop and thus kills another stop.

Both HSS and Hypersync are workarounds that will die when global shutters
become available for flash sync as well.

hne said:

HS (or SuperSync, HyperSync, ...)
(...)
The shorter shutter speed you use with HS, the smaller the part of the flash output curve you use.

Click to expand...

No. You don't chop anything out. The flash fires free until the minimum discharge
voltage of the capacitor is reached and the plasma in the flash tube dies.

hne said:

HSS and HS give exactly the same possibilities of stopping fast motion, since they
both make a flash behave like a continuous light source.

Click to expand...

That is correct.

Re: Canon U.S.A. Lends Its Support to Women Photograph, an Initiative Created to Promote the Represe

lexaclarke said:

ethanz said:

I wonder when there will be interest from more females to join this kind of forum lol

Click to expand...

Um, hi there.


This is pretty good of Canon but it smells of PR stunt. Like, they could have done lots more than they have to encourage female photographers before. If they want to make a difference they should be starting these things earlier and do them all the time, not just put out a press release on International Womens' Day when every company is under pressure to say something like this.

When I go to the photo expos and trade shows in this country the Canon stand is only ever staffed by men and if you do see a woman there she's either a model brought in to have the new camera pointed at or she's a generic event staffer who was assigned by the building. It's off putting. Olympus and Sony and Fujifilm always have at least one female pro at their stands. Canon and Nikon never do. 700 female journalists is a start but it's not enough and it's only in one field of photography.

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Welcome to the forum!

Chaitanya said:

Cochese said:

I'm sure the lens is fine, but I really hate the design of it.

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That design is similar to how MP-E 65mm works. Only benifit of this lens is that its quite a bit smaller and lighter.

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More importantly, it's *cheaper*. (But of course it has some deficiencies compared to the MP-E).

Hi Sanj.
You could be right, but this is a very subjective thing, I think the ideal would be somewhere around 2/3 of the way to yours, ie 1/3 lighter than yours! Again purely subjective no absolutely correct answer!
Perhaps the shot owner was intending to show the scene as it looked to their eyes?

Cheers, Graham.

sanj said:

Bit overexposed. No? "Friendly"

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cayenne said:

Is there some sort of problem with the Canon 85mm f/1.2 lenses?

I've been reading this thread, and multiple people have been talking about trading theirs in before "costly" repairs are needed.

I'd not heard these lenses had any particular problems or short shelf lives.....?

Can someone fill me in on this?

I got the 85mm 1.8 as one of my first lenses, bang for the buck type thing.

But have been eyeballing a 85mm 1.2 in the relatively near future.

I was thinking of picking one up off Canon Refurbs for the 85mm 1.2, but if there's some sort of inherit problem with them, I may re-think this.

Thanks in advance!!

cayenne

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After deciding to keep my 1.4L IS, I made the decision to sell the 1.2L II for two reasons. Firstly, I believed that the resale value of the 1.2L II was good and might not get better. Secondly, I did not want to keep a lens that added very little in IQ or "character," yet exposed me to a fairly high potential repair bill. I don't have any reason to believe the 1.2L II is more prone to problems than other L lenses, but it is unique in its implementation of AF, and its rear element is flush against the back of the assembly. And it's a whole lot of glass crammed into a tight space!

If I remember correctly, lensrentals actually posted a typical cost-of-repair in this forum, but I could not find that post to share with you. You might contact them for the information, or another member here might find the post. As a CPS member, I'm well aware of repair costs generally, but fortunately never needed to send in my 1.2L.

My decision to replace the 1.2L II with a lens that has, say, 95% of its IQ "magic" plus IS and much quicker AF doesn't need a whole lot of further explanation.

The Canon viewfinder's auto switch on the M series is already significantly better than Sony's A7RII. The distance sensor on that is way oversensitive, whereas on the M5 it just works as you'd expect it to.

Hi there to everybody with GAS!

There is a new promotion coming from Canon Germany: The Spring Promotion.
Duration: from February 15th until April 30th. (I didn't recognize it until today)
So it seems this could be continued directly by the usual Summer promotion, usually starting from May.

For details look here: https://www.canon.de/for_home/promotions/

There are two parts:
[list type=decimal]
[*]for FF and Cine bodies either up to 300 € Cashback or a Wacom Tablet
[*]for some L lenses up to 300 € Cashback
[/list]

No consumer products are included this time.

Please also note that there is still that "EOS plus X" promotion running without end date.
So if you are looking for a new body and lens check out which one is more attractive to you.

Enjoy your GAS.

YuengLinger said:

keithcooper said:

aceflibble said:

Shame there's no portrait examples, 'cause that's where this lens is most interesting. Had a play with the 90mm for portraits and product and it's definitely superb for the latter—I have ordered two for that purpose—but 90mm is just a little too short for a tight headshot. Been trying to get hold of the 135 to test, but it seems like they're snapped up the moment they land on these shores.

Click to expand...

To be honest, it's also a lens I'd just never think of using for portraits, all that sharpness... I'd much rather have the Canon 135/2 (if I did such work) Any use of tilt just looks too gimmicky for my tastes, but YMMV, and if you got that much spare cash why not ;-)

Click to expand...

Canon marketing, not seeing it as "gimmicky," says:

"The following thoughts connect both the TS-E 90mm f/2.8L Macro lens, and the stunning TS-E 135mm f/4L Macro lens. The longer focal length of the latter is the primary distinction between them, although some may desire the faster f/2.8 maximum aperture of the 90mm lens.

Portraits
This may be the biggest potential application to consider for a tilt-shift lens. Aside from being superbly sharp 90mm and 135mm lenses, the ability to use shift to alter the plane of what’s in sharpest focus — either expanding the range of sharpness, or conversely using “reverse tilt” and narrowing it to a small sliver of the subject — gives these lenses visual control which simply cannot be duplicated by conventional portrait-length telephoto lenses. "

( http://learn.usa.canon.com/resources/articles/2017/tilt-shift-lenses-applications.shtml )

135mm does seem to be compositionally too tight to take advantage of the benefits and effects of tilt-shift, but having never used any tilt-shift, I'd really like to see a comparison to a slightly wider focal length for portraiture.

Click to expand...

Yes, I can see a few uses that might not look too awful - but I'm afraid people pics are unlikely to become part of my reviews ;-)

neuroanatomist said:

3kramd5 said:

Did you really need to invent another term for SLR? You’ve been using mirrorslapper for quite some time now, but mirrorflicker? Really?

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Perhaps we should start referring to MILCs as mirror-challenged cameras, as a politically correct way to acknowledge their evident disability.

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ILM-CCs? Haha, that's a good one!

And how do (should) we call those folks who lack any photograhical knowledge and still post like hell?
FWLAPKASPLHs?

;D ;D ;D ;D ;D ;D ;D ;D ;D

No, that's not PC, maybe knowledge-challenged folks who still post like hell?

K-CFWSPLH?

;D ;D ;D ;D ;D ;D ;D ;D ;D

MagnumJoe said:

Hello All,
I have a couple of question about 4k video from my 5D MK IV.

1. I'm using a 2016 MacBook Pro and when I check get info in (QuickTime) from the 4k file it shows the color profile is PAL (1-1-6); but if the its a file I shot in 1080p it shows HD (1-1-1). When I see PAL I think of the TV format in Europe. I wanted to make sure I don't have a setting set wrong somewhere. Again this is only in 4k 23.98p ALL-I .MOV.

2. Working with MPEG 4k files; I find if I import the video files in FCP-X first then export them with Apple ProRes 422 the files are much easier to work with in Premiere Pro the application I more familiar with and it seems it faster than importing them in Premiere Pro as Proxies and then editing them. Will I loose any information doing it this way?

Thank you,
Joe

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Not sure about the first question. 23.98 isn't a traditional PAL framerate, though.

With the second question, if you're proxy editing anyway, can't you just lose the transcode step and still retain full quality in your finished footage.

To my way of thinking you have two options there; either transcode to ProRes 4:2:2 and edit that directly in your NLE of choice. Or set up a proxy edit workflow and skip the transcode step.

My copy is very, very good and very sharp. It will be interesting to see what the new III version will offer up.