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okaro · Jan 5, 2017

It is actually SX430 IS. Models ending in 2 or 7 are special versions for selected stores. They are identical to the main model with the exception of the version number and in some cases colors. It was anounced yesterday. Nothing special in it as it is a low end model. It is very much like a few years old SX530 HS but with a CCD instead of the better CMOS sensor and WiFi connectovity

ISO64 · Jan 4, 2017

Berowne said:
zim said:

neuroanatomist said:

ISO64 said:

Curved sensor is still straight top to bottom, so image is affected/improved in one direction only.

Click to expand...

Is that stated in the patent, or are you making an assumption based on the diagrams posted here?

Click to expand...

That's exactly what I asked in (in a deferent way)
http://www.canonrumors.com/forum/index.php?topic=31461.0
with no answer, maybe it's obvious but not to be.

This would seem to me to be for very specialised applications.

Click to expand...

For anamorphic lenses?

Assumption based on the property of piezo elements that change length (extend or shrink) along a single axis only; you can disregard how much applying the voltage will result in change in total volume. So, if you wish the sensor to follow a spherical shape, at least two separately driven deforming layers would be required. Mechanical coupling between them would be a tug-of-war.

Image imperfections are getting progressively worse moving away from the axis so applying corrections in that area between image height square format and full 3:2 size is where the effort will be. The illustration on the patent application shows it clearly.

powershot2012 · Jan 4, 2017

Canon should just release the G1X III at this point.

Antono Refa · Jan 4, 2017

awinphoto said:
Antono Refa said:

awinphoto said:

uri.raz said:

ahsanford said:

Perhaps 5D4 kit demand was higher than anticipated? Canon might have diverted new II lenses in production into the kits, possibly stalling the rollout of it as a standalone item.

Click to expand...

The mk2 is marginally better than the mk1, which is readily available for half the price, so I would expect people who own a FF camera, as a group, to be savvy enough not to create such a high demand for the mk2.

My guess is

1. New Canon lenses are always on short supply shortly after announcement.

2. Which is exacerbated by some copies shipped in kit.

3. And by firmware upgrade, IIRC something to do with IS on 5DmkIV.

Click to expand...

You would be surprised... i know a few portrait photographers whom charge over $3000 a session on a regular basis who use this lens as their go-to lens and recommend it to their underlings... True working photographer are a different breed than other photographers... Plus, they aren't ignorant in that there are sharper lenses out there, but they know that would include more retouching work they have to do or pay someone else to do it, and time is $$...

Click to expand...

Which contradicts the post... how?

Click to expand...

Just commenting on how he was saying paraphrasing that people who own a FF camera (those whom should know better) would be savvy enough NOT to create a high demand for the lens... and I am saying i know a lot of working pro's who are jumping and creating high demand, including me in the second quarter of this year God willing. This lens may not wet the appetite of some on this forum, but will for a lot of people.

I know some of the people who bought the mk2 just because its a newer model. That's not savvy behavior.

People who make money from their equipment are smart enough to justify expenses. Somehow, I've heard no such justification.

RayValdez360 · Jan 4, 2017

Mt Spokane Photography · Jan 4, 2017

I expect that many will want this camera, but I want a larger sensor. That's a challenge, since lenses get larger and autofocus speed takes a huge hit, but you need excellent lighting to get photos at 1200mm equivalent, and wildlife likes to hide in the shadows or come out late in the day. That limits my ability to use a camera like this.

Canon Rumors · Jan 4, 2017

HTML:

<em>Digital Single Lens Mirrorless (DSLM) Camera Featuring 4K PHOTO and 4K Video Recording</em></p>
<p><strong>Las Vegas, NV (January 4, 2017)</strong> – Panasonic is today launching the ultimate high performance compact mirrorless camera for selfie-takers – the LUMIX GX850 – which offers great image quality for those who want to capture amazing scenery and unmissable moments. Featuring technological advancements, the LUMIX GX850 offers a flip-up rear monitor and a host of options, such as the newly integrated 4K PHOTO and 4K Video all in a sleek, stylish compact body.</p>
<p>The 3.0-inch 1040K-dot static type touch control screen boasts a 180-degree tiltable structure and the camera goes into Self Shot mode automatically once the monitor is flipped. In Self Shot mode, a variety of functions for selfies are available on the LUMIX GX850, including a newly-added 4K Selfie mode. The beauty functions enable users to shoot portraits more attractively and after shooting, aesthetic/make-up retouching can even be applied in the camera with the Beauty Retouch function. Users can also choose to capture the background clearly or defocused depending on the situation with the new Background Control mode. Panorama pictures can be shot in Self Shot mode.</p>
<p><!--more--></p>
<p>The 16.0-megapixel Digital Live MOS Sensor without low-pass filter and the new Venus Engine combine to achieve crisp, high-resolution images in fine details with high-contrast, impressive color reproduction and maximum ISO 25,600 high sensitivity.</p>
<p>The LUMIX GX850 records smooth, high-resolution QFHD 4K videos in 3840×2160 resolution at 30p or 24p in MP4. Taking advantage of 4K technology, users can also enjoy 4K PHOTO shots and a variety of derivative functions, such as Focus Stacking, Post Focus and Light Composition.</p>
<p>For more creative freedom, Creative Control, Creative Panorama and Photo Style including L. Monochrome mode are included. The iA (Intelligent Auto) mode and Scene Guide make LUMIX GX850 easy to use even for people who are new to digital interchangeable lens system cameras. Also the camera integrates Wi-Fi® connectivity to offer a more flexible shooting experience and instant image sharing with easy operation.</p>
<p>Available in silver and black, the LUMIX GX850 boasts a sleek, stylish profile in a traditional camera design.</p>
<p><strong>Capture amazing selfies with the new 4K and panorama selfie</strong></p>
<p>The new LUMIX GX850 is designed and refined to make selfie-shooting more enjoyable. Taking advantage of 4K technology, it captures the best moment in which everyone is smiling in a group selfie or in situations where the background is moving, such as a train passing by.</p>
<p>A rich variety of beauty functions in the LUMIX GX850 enables users to shoot more attractive portraits, offering Soft Skin, Defocusing and Slimming effects. After shooting, aesthetic/make-up retouching can even be applied in the camera with the Beauty Retouch function. Background Control mode also lets users capture the background clearly or defocused while traveling or at an even more impressive event. Selfies can additionally be shot in panorama pictures, which is ideal for group selfies and selfies in front of a dynamically scenic background.</p>
<p>When the monitor is flipped up, the camera automatically activates Self Shot mode and the hands-free selfie allows users to use their hands as they like, resulting in freer, more expressive posing. Face Shutter and Buddy Shutter functions can also be used to trigger the shutter release in the LUMIX GX850. They work when the face is once covered with a waving hand or when two faces come closer in a frame.</p>
<p><strong>Capture unmissable, fleeting photo opportunities with cutting-edge 4K technologies and stunning performance</strong></p>
<p>The LUMIX GX850 is capable of recording smooth, high-resolution 4K videos yet despite its high performance, it boasts superior energy-efficiency within a compact design.</p>
<p>Thanks to this 4K technology, users can also experience 4K PHOTO to capture fleeting photo opportunities at 30-fps by extracting the frame with the best timing out of a 4K burst file to save as a photo. In 4K PHOTO, three modes can be chosen from depending on the situation; 4K Burst, 4K Burst (Start/Stop) and 4K Pre-burst. All of these functions in 4K PHOTO let the user save pictures in 8-megapixel equivalent high-resolution, which will allow printing up to 16 x20 inches. A maximum of 150 frames in five seconds following a designated frame can be saved.</p>
<p>The LUMIX GX850 also comes with a Post Focus function that lets users select the in-focus area even after shooting. This is helpful in situations like macro shooting where strict focusing is required or for changing expressions by changing the focused subject. This function was developed by combing the high-speed, high-precision DFD (Depth From Defocus) auto focus technology and 4K technology.</p>
<p><strong>Achieve true-to-life detail and impressive color reproduction</strong></p>
<p>The LUMIX GX850 lets users shoot vibrant, true-to-life high-quality images with excellent resolution, high contrast and impressive color reproduction. By removing the low-pass filter, the limiting resolution has been improved. The Venus Engine reproduces vibrant, impressive colors for images such as clear skies by dividing the hue, saturation and luminosity and finely adjusting them separately. The combination of the Digital Live MOS Sensor and Venus Engine achieves clear image rendering with minimum noise, even in low-lit situations.</p>
<p>The Contrast AF System features DFD (Depth From Defocus) technology and excels in both speed and accuracy by exchanging digital signals between the camera and the lens at a maximum of 240 fps, resulting in ultra-fast auto focusing of approx. 0.07 sec.</p>
<p><strong>A host of other exciting features </strong></p>
<ul>
<li><strong>iA+ (Intelligent Auto) Mode for Photos and Videos</strong></li>
</ul>
<p>For beginners, iA (Intelligent Auto) mode provides beautiful pictures with a variety of shooting-assist functions including AF Tracking, Intelligent Scene Selector, Face Recognition, Intelligent ISO Control and Food Recognition.</p>
<ul>
<li><strong>Scene Guide</strong></li>
</ul>
<p>The Scene Guide offers 21 sample pictures shot by professional photographers. Users can choose the one closest to their shooting situation and the optimum parameters for shooting the scene will be automatically set.</p>
<ul>
<li><strong>Creative Control</strong></li>
</ul>
<p>The LUMIX GX850 integrates a variety of artistic functions that adds fun to digital photography. The popular Creative Control mode features a total of 22 filter options.</p>
<ul>
<li><strong>Time Lapse Shot</strong></li>
</ul>
<p>The camera automatically starts recording photos at a time lapse sequence once the start time, interval and the number of pictures to shoot are set.</p>
<ul>
<li><strong>Snap Movie</strong></li>
</ul>
<p>Users can record video in a designated short period of time (2/4/6/8 sec) as they shoot “moving photos”. In this function, rack focusing or addition of a fade effect (color in/out, black in/out, white in/out) are available.</p>
<p>The GX850 will be available for $549.99 in early February.</p>
<span id="pty_trigger"></span>

bsbeamer · Jan 4, 2017

if it had better low light capabilities, I'd probably be shooting with it as my main camera this spring... with all the features, it does make using a Metabones Speedbooster adapter ($650 or so) worth considering:

http://www.metabones.com/products/details/MB_SPEF-m43-BT3
http://www.metabones.com/products/details/MB_SPEF-M43-BT4

LDS · Jan 4, 2017

Don Haines said:
Magic Lantern will always be after Adobe unlocking new RAW files because they don't get to start until the others are finished...

Of course. Mine was "tongue in cheek". IMHO, I can't see big advantages in outputting DNGs instead of CR2s (unless you have already a DNG based workflow for any reason), but being able to open them in application that don't support yet the latest CR2s.

LDS · Jan 4, 2017

sebasan said:
That's what I was thinking. "Exposing to the right" should be always the way to shoot if you want the best IQ. The increse in DR is good in some ocasions when you have a situation with some contrast, but even in really high contrast situation you should use other techniques (bracketing, filters) to get the best IQ in the final image.

ETTR works best when the image is well within the DR of the sensor, and you have enough space left to shift exposure to the right without clipping the highlights - it could help minimizing noise in the shadows. In high contrast situation, that could be very difficult, because there's no really room to shift exposure. ETTR too needs to be used carefully when it makes sense, it's not a generic way to shoot, IMHO.

That's why IMHO graduated filters may still be useful (especially if you're not a photoshop master, and/or merging different shots is not possible)

rrcphoto · Jan 4, 2017

jeffa4444 said:
If immersive means you can no longer see the full image without physically panning & scanning with your head & eyes then we have defeated the realism and viewing for long periods would be uncomfortable for moving images. The extra resolution is a mute point with moving images & less so with still images where we have time to be more critical.
We have reached a critical junction with resolution and for many we have already gone too far. Colour space is different many still prefer analogue because it imparts a more subtle look and a wider bit depth & colour space may provide for that subtle in digital that some feel it doesn't have.

Like everything however its subjective and we all hold our own views.

true that.

I honestly don't know how they are envisioning 8k .. whether it's more a surround virtual reality mode where the 8K resolution is covering a wider view?

I do know the audio is over 20 channels apparently. 22.2 is NHK's spec.

so if they are making audio very immersive , I can see them pushing for a far more video immersive effect. imagine it feeling like you are right there in the stands kind of thing.

when you think about it.. we are always presented with a wider field of view than we can comfortably see. every second of the day.

wtlloyd · Jan 4, 2017

Take a look at Knesis. Probably a L321, that's what I had when I was using the EF200 f/1.8.

http://www.kgear.com/bags/l.html

Jopa · Jan 4, 2017

leolol said:
That is defenitely true, i still think that you win some DR with the HDR-Mode.

I get that they might want to try it out in a lesser body first but the 5d4 isn't much of a lesser body after all.

Theoretically you can achieve similar results while shooting with the "C-Log"-ish profile (http://www.eoshd.com/2016/09/now-available-eoshd-picture-profiles-brings-c-log-canon-dslrs-including-1d-x-mark-ii-5d-mark-iv/) and grading yourself, or if you set the DR optimization to High.

daniela · Jan 4, 2017

Received an new Yonguo 600-Rt flash and it wokrs for me needs perfect. Forr 100€ a "no brainer"...
The company answered my email and wrote, that the Canon 580 flash has problems to get synchronised witht he triggers.

Jopa · Jan 4, 2017

rrcphoto said:
pokerz said:

rrcphoto said:

powershot2012 said:

Sounds disappointing...still has that cheap slow lens

Click to expand...

#physicsmatter :

Click to expand...

In 2012 Rx 100 (28-100mm f1.8-4.9 with 10 FPS)
in 2017 G9x2 (28-84mm f2-4.9 with 8 FPS)

Click to expand...

troll harder.
the G9X is smaller than the RX100.

#physicsmatter.

fps has not much to do with the smaller /slower lens that I was responding to.

physics does. want a smaller lens profile - make it slower and less zoom range.

concept hard for you to follow?

I feel for some people it's really hard. "I want a smart phone size camera with an 11-1200 f/0.95 zoom lens. A medium format sensor is a must".

ajfotofilmagem · Jan 3, 2017

privatebydesign said:
He doesn't use the M5 on the pole, he uses a DJI Osmo.

I thought that thing over the pole was a ball head ...

jeffa4444 · Jan 3, 2017

If moving from the 6D I would go with the 5D MKIV as your not a professional. The 5D MKIV is a more generalist camera with very goof AF and whilst the burst rate is a lot less than the 1DX MKII its a lot lighter, uses the same batteries as the 6D and has a similar form factor.

jeffa4444 · Jan 3, 2017

If your using the Tether Tools USB-3 cable then purchase the additional external power supply it could be you don't have enough juice running on the battery as the 5DSr / 5DS is more power hungry. My cable works fine but tethered I always add the external power boost.

hubie · Jan 3, 2017

No longer optical image stabilisation? That's a let down. I didn't spend attention to it when i bought the A5 2016, but now I don't want to miss it on my job anymore... pictures even under difficult lighting conditions are at least sharp and can be used for PC and documentation purposes.

pokerz · Jan 2, 2017

rx100

Viggo · Jan 2, 2017

Yeah, new too. It's still weird because this is my second 200 f2.0 and the other one was perfection on the 1dx, luckily I don't own 5-6 bodies I need to calibrate it to. And when it works it's my favorite combo, and hopefully will work at least 4 years when I upgrade to a 1dx2.

rs · Jan 1, 2017

I have one slight issue with this article (and especially the previous incarnation of this); while looking at the pure cost of a new front element makes perfect sense for guys who's day job it is to strip down and rebuild lenses and are equipped with optical benches to ensure they rebuild them shimmed/adjusted to perfection, how can the likes of any of us successfully replace a front element for the price of the parts alone? Once you factor in labour, shipping and additionally time without the lens, not to mention the possibility of it not being adjusted or assembled correctly, surely to us a filter makes more sense in an even greater number of scenarios than Roger indicates?

Having said that, I don't filter all of my lenses that could be - the cost/size benefits of pancake lenses are somewhat defeated with the addition of a filter in my mind, and the EF-M 18-55 is so rarely used (and cheap) that again I can't justify that.

rs · Jan 1, 2017

hubie said:
hendrik-sg said:

3.6 - 255mm f 2.8-7.0

equals to (if the crop factor is 5.6)

20-1430mm f 15.7-55

This is far beyond the diffraction limit. Magnifying some amount beyond the diffraction limit may may give some benefit, because the resolving pover somehow converges, the losses are multiplied, and with some "oversampling" the loss of missing sensor resolution dismishes. Exactly at the diffraction limit, the losses caused by diffraction and by lack of sensor resolution are equal.

This amout is a complete overkill, it's just physical nonsense, and adding a converter to such a lens can not give any additional information, it's not there.

This is almost unhonest, sell people a camera which gives a magnification that is so high, that the image is getting blured by physical reasons. This is another way to kill the PS market, people are excioted by the promise given and the following disapointment is not evitable.

This customer will rely on the good old phone, if a real (and big) camera gives only blured pics.

Click to expand...

I guess you got something wrong there. The aperture of the lens remains the same no matter what crop factor you use. The crop factor is nothing more than a comparison of the sensor size to the full frame (and some people deduce other picture properties from it).

The physical dimensions of the lens are independant of it... although I doubt the lens will create an image area anywhere near a full frame sensor.

Yes, the physical aperture remains the same, no matter what extender or equivalence you are referring to. But if the focal length changes as a result of extenders or how its referred to with equivalence, the aperture ratio has to change in those terms. After all, 255/7.0 (focal length/aperture ratio at full zoom) reveals it has a physical aperture or entrance pupil of 36.4mm at full zoom.

If you take the crop factor to be 5.6, it cannot be equivalent to a 1428/7.0 lens, as that requires an entrance pupil of 204mm. Whereas a lens which is equivalent of 1428/39.2 (both multiplied by 5.6) does indeed have the same 36.4mm entrance pupil.

LDS · Dec 31, 2016

You can find another thread about the show when it was first aired. It looks to me you missed some points, anyway.

It is a TV context, so it has rules to abide. You may not like them or not, but that's how it worked. It may be difficult to get a good picture in the allowed time, but the format required it, photographers were followed along by the Sky crews.

Same for being forced to use the sponsor's gear. Using only the allowed cards was a way to ensure no cheating.

Then, you don't really need a "blue" or "golden" hour to take a good one (although at least one was took in the early morning - the one shoot at the Trevi Fountain). You may be surprised about what kind of images are actually regarded "art" today.

The jury for the next season will be composed by Hunter, Padilla and Toscani. The first season saw Blees Luxembourg and Frederick with Toscani. Again, you may like them or not, but that was the jury.

Toscani character is well known. Too harsh? There was a 150K euro prize, an exhibition in Venice plus the publicity the show brought. Unluckily TV times and "drama" have their needs also, nor it wasn't a didactic show for beginners, nor for photographers only. At least, nobody teared photos apart and thrown them to the floor. Could have be made better? Probably so.

The guest photographer/artist/editor was expected also to give some help to the competitors. I agree in episode 2 he was really awkward. Others were far better.

Have you ever taken part in a workshop with a well-known photographer? Well, it's not so uncommon you may get some really harsh comments about your images. Of course, they could be right or not - but it's better to learn how to manage them as well - and learn from them as well.

Mt Spokane Photography · Dec 31, 2016

Since there are likely some Nikon users on this forum, I thought I'd post this. I'm not bashing Nikon, things like this can happen. It does point up the need for backups. Storage media is relatively inexpensive and a backup can save you from a serious loss.

"Thank you very much for your continued patronage of Nikon products.

It turned out that image data may be corrupted when transferring images using Nikon Transfer 2 on macOS Sierra version 10.12.2 in our software "View NX - i".

ViewNX-i Ver.1.2.4 which was released on November 22, 2016 supported macOS Sierra version 10.12, but since it was not designed for macOS Sierra version 10.12.1 or later, we are currently working on compatibility.

For this reason, until compatibility with macOS Sierra version 10.12.1 or later can be confirmed, and please do not use Nikon Transfer 2 until an announcement from us.

We are diligently working on a solution for this phenomenon and we will notify once a fix has been issued. "

http://www.the-digital-picture.com/News/News-Post.aspx?News=19736

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