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.
Upvote 0

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>
<span id="pty_trigger"></span>
<div style="font-size:0px;height:0px;line-height:0px;margin:0;padding:0;clear:both"></div>

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>
<span id="pty_trigger"></span>
<div style="font-size:0px;height:0px;line-height:0px;margin:0;padding:0;clear:both"></div>

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. ::)
Upvote 0

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
Upvote 0

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.
Upvote 0

Canon EF 11-24mm f4L vs Canon EF 16-35 f2.8 L III

padam said:
If the range is suitable, the 11-24 is a perfectly fine lens. I found it too heavy with the 1DX but fine with 5D or 6D (or Sony mirrorless, where it actually works with the stabilization very nicely).
In the less extreme range it has better distortion control than all the other EF lenses (including the primes) and it is more than sharp enough everywhere with some border CAs that are easy to correct.

Right....by distortion control...I'm assuming you mean that straight lines stay more straight....but circles get distorted into weird egg shapes? With ultra wide lenses, there is either fisheye or rectilinear corrected. There are no other types of wide lenses. The amount of rectilinear correction is down to the lens engineer and intended lens usage. With a fish eye, circles stay round but a fully corrected rectilinear lens...the straight stay straight. but in both cases the opposite happens to the straights or circles. Neither is correct.
So a lens engineer (or lens program) dials in the correction based on what the intended usage is for. Something like a 14L, TSe 17L or 11-24L is likely to want to shoot architecture more than people. So it's corrected for straight lines (but makes a mess of faces / circles etc). Something like a general ultra wide (16-35 f4LIS is a good example) is corrected for general use, allowing post prod to perfectly straighten lines or enhance circles. It walks a median path through them both.
So please don't think that a 11-24L is a better corrected lens...it isn't...it's just better for straight lines, which may not be what you need in every situation. I have a TSe 17L, a 16-35IIL and a 8-15L fisheye for this reason...I need the right tool for the right situation.
Upvote 0

GH5: Codec update and HLG

https://www.dpreview.com/news/9799125170/panasonic-issues-promised-gh5-firmware-update-with-a-host-of-unexpected-extras

Too many feature, don't understand all.

Panasonic GH5 now have HLG raw for UHD.

What HLG?

https://en.wikipedia.org/wiki/Hybrid_Log-Gamma

HLG more like eye, less like computer. Not needed for raw, can change curve after. Can't change curve for 4:2:0/4:2:2 like raw.

Canon Announces the EOS M100 Mirrorless Camera

AvTvM said:
neuroanatomist said:
I ordered the M6 after the M100 specs came out. ;)

out of curiosity: what triggered your decision in the end?

I am still undecided between M5 and M100, but leaning towards M5

A. "EVF and full control layout" = M5
... but package is bigger than I like and I have not found a suitable bag/carrying solution [LowePro Dashpoint dilemma :P];
M6 not really an option to me, since it is not much smaller than M5 and not cheaper with external EVF

B. "Smallest possible package" = M100
But no EVF (not even optional), meek battery and lack of control points / nerfed UI and no flash shoe ...

M5 is too big, for me. 2 cm taller and 1.5 cm thicker than the M6, for me that's too big for a travel/backup camera; the M5 is closer to the SL2 than the M6 in size. So for me, it was a choice between the M6 and the M100.

The M100 is really not much smaller than the M6 – it's only ~3mm less wide (specs say 4mm, but the M6 strap lugs are a little bigger), the M100 is only 1 mm shorter, and it's only ~3 mm less deep (specs say close to 1 cm, but most of the M6 added depth is the forward-protruding contoured grip, which doesn't add to depth with a lens attached).

I went with the M6 for the better ergonomics (more comfortable grip), better controls (a bona fide mode dial), hotshoe (if I need a flash, I prefer the bounce capability of the 270EX II), and availability as a kit with the M18-150 (I have no desire for the M15-45).

As for the 'Dashpoint dilemma', that is an issue only for the M6 + M18-150 combo (or + M55-200). The M6 + M11-22 (or M18-55) fits in the Dashpoint 30. The M6 + M22/2 fits in the Dashpoint 20. Would be a bigger dilemma with the M5, of course – maybe the M5 + M22/2 would go in Dashpoint 30, but otherwise I think the Dashpoint series is out with the M5. The M100 + M18-150 would fit in the Dashpoint 30, though (or so I assume, since the M/M2 + M18-150 fits). Actually, the M6 combo barely fits in the Dashpoint 30 – the strap lugs put a little strain on the zipper, but it closes. That could be useful for packing it in a backpack, I think, but not for belt access. For that purpose, I ordered a Lowepro Format TLZ-10 which looks to be 'just right' for the M6 + M18-150.

Since my most-used M lens is the 11-22, the M6 combo in the Dashpoint 30 will work well for me. The M18-150 fits nicely in the Dashpoint 20.
Upvote 0

Review: Canon EOS Rebel SL2

That's is good to hear. 5% of sharpness difference is An average sharpness Loss for a lens that is out of tune by around +/- 5 AFMA units and is likely noticeable for you (not for your clients, no :) )when review at 1:1 magnification on high pixel density bodies like 80D, 5DsR, etc..

ashmadux said:
5% is almost literally nothing. It is good to know though.

I've had some misfocus issues several times on my rebels, but overall i've never found them affected by afma issues, with ANY of my lenses. I've shot a 70-200 extensively on a t2i, and i pixel peep like it was a gift from the digital image gods. All good in the hood always, and hopefully, forever :)
Upvote 0

Review: Sigma 150-600mm f/5-6.3 OS Contemporary

600mm amplifies shake nearly 2x relative to 400mm (don't tell me 600/400 = 1.5, shake goes up faster than focal length in practice). I have gone down as low as 1/80s fully hand held on a 5DSR, http://www.canonrumors.com/forum/index.php?topic=29874.msg674826#msg674826 but I wouldn't recommend it - the faster the better at long focal lengths. If you can't get a sharp shot below 1/500s, then send it back to Sigma.
Upvote 0

Sony E - most expensive and heaviest f/2.8 setup

candc said:
Dylan777 said:
candc said:
i use canon and sony cameras. they both have their advantages and i like them both for different reasons. you can use canon lenses on sony e mount cameras so it gives you a lot of options. it is true that the sony 2.8 zooms are similar in size to the dslr counterparts. there are sometimes good smaller sized options for the sony if that's what you are after.

here is a good example: i think i am going to pick up the new sony 12-24 f/4 lens for use on my a7rii. from what i gather it is just as good as the canon 11-24 or sigma 12-24 and it is more compact and about half the weight of those lenses. many of the sony lenses are more expensive than their dslr counterparts but not in this case. the sony is about the same price as the sigma and half that of the canon. so in this case the sony is more appealing to me.

p.s. . i also like using my canon fd 50mm f/1.2L on the a7rii.sony does have a 50mm f/1.4 lens but i already have the 55 f/1.8 lens and really like it

I have both, FE50f1.4 is more indoor use. Love the IQ.

If you get a chance, try to pair the FE28f2 and FE85f1.8 with your FE55f1.8. These are great combo to pack for light day without giving up Execellent IQ.

that is a good suggestion. the fe 28 is a really good lens by all accounts and my trusty fd 28 that i have had for 35 years is due for an update :)

Kinda nice to have IS built on the sensor. I'm able to shoot 1/10 hand held with my 50f1.4 ;)
Upvote 0

Formula 1 with 104 year old camera

Photographers took some amazing photos over the past 140 years with only one shot. Then it was cover the plate or film, flip the holder over, remove the film / plate cover on the other side of the holder, and wait for the next good opportunity. I have used 10 fps at racing events, but in the end, after going thru hundreds of images, I would have took the preferred one 9 of 10 times with one shot.

The only time I found high fps a potential necessity was trying to capture a arrow in flight, and the end of a bull whip at faster than the speed of sound. Then, 10 fps was not even in the ballpark.
Upvote 0

Canon Issues Service Advisory for EF 50mm f/1.4 With Focus Malfunction

mistaspeedy said:
After testing it out for a bit... it started working!
Don't worry, it'll break again. I've had mine since 2000 or 2001 and although I've given up on it for pretty much the past decade, I've managed to revive it from time to time. Sometimes I've done mild disassembly, blown it out with canned air, and the AF will start working again (possibly no causation there), sometimes it just starts working on its own. Give it a good shake, it might work... who knows?

Either way, it will break again. Yours will break again. It is so.

GammyKnee said:
So Canon have determined that some copies of a lens that is renowned for having a fragile and dodgy AF mechanism, have a dodgy AF mechanism. But only some, right? ;)

Seriously though it's amazing that they haven't updated this lens yet. I'm really glad I got my Tamron 45mm when I did instead of holding out for a new Canon alternative.
I don't get why they haven't. Granted I also have a 50 1.8STM that I keep in my mirrorless kit so I probably don't care much anymore. I've come to prefer having an 85 1.8 and a 35mmish equivalent over a 50 1.4 on full frame.
Upvote 0

430EX III-RT. The AF assist beam work beyond the central point?

Many thanks Paul, for the complete answer.

My feeling is that Canon made the "430ex III RT" to be competitive with Yongnuo, and at the end of the project someone from marketing said, "Hey, we have to cripple the AF assist, otherwise it will hurt our 600EX sales of $ 500" :-[. It is disappointing that a very capable flash has a downgrade in AF assist, compared to the 430ex II.
Upvote 0

Review: Sigma 14mm f/1.8 DG HSM Art

phuangk said:
Got this lens for a month and finally took it out for some shooting a week ago.
Very nice lens and sharp when you get it focus.
This lens can auto focus properly if I use Live view focus on my Canon 6D, however, if i use optical viewfinder to focus, it is really hit and missed.
This is my first Sigma lens, is this normal for Sigma Art series lenses?

.Thanks

Normal or not, it's a common fault of them. I had FIVE with this issue and I'm never buying again, while others have and love theirs. The last 50 I had worked for six months so I can work and then start to have this issue.
Upvote 0

Canon Adding New Camera Plant as Production Returns to Japan

One would expect that as the camera and lens market is gutted on the low end, that successful companies would be the ones who own the high end. Canon is certainly one. With that rebalancing of their portfolio, you'd expect them to need more manufacturing capacity where they make there high end products. Dog bites man.
Upvote 0

Why is 4K important?

Mikehit said:
9VIII said:
https://en.wikipedia.org/wiki/IMAX

IMAX Film is supposed to be around 12K resolution equivalent, people could recognise that there is a desire for super high resolution media as far back as the 1970's, I don't see why that should be any different now.
It's not that hard to meet the minimum requirements for an IMAX experience in your home either: http://www.lfexaminer.com/20090522a.htm
we aim for a minimum eye-to-screen distance of 0.35 times…screen width and a maximum distance to the last row equal…to the screen width.”

As long as the back row is within spec for IMAX, then sitting 6 feet from an 82" screen is within spec for a "home equivalent" to IMAX.
The back row may not be ideal, but neither is 4K, in fact if IMAX is equivalent to 12K that means 4K is actually almost exactly 10x less total pixels (12K at 16:9 would be 81 Million pixels, 4K is 8,294,400).
So if you factor in the lower image quality of 4K, it is still appropriate to be used interchangably with 1080p.
I predict 4K will be the "SD resolution" of the year 2100 and beyond.

8K is finally within the same order of magnitude of detail as IMAX, but even that is less than half the pixel count and really will probably be appropriate in 99% of home theaters at the same screen size people have today.
So in a viewing room 6 meters long, you need a screen size of 18metres. Yeah, right.

It's a nonlinear growth ratio. When you're at IMAX, you aren't expected to see the whole screen. If you were at home and it were possible to have the same ratio, your seating would be elevated and for you to be so immersed your front wall (with the screen) would ideally be several times larger than the back, with the whole wall a viewport.

Of course, unicorns are nice too.
Upvote 0

Filter

Forum statistics

Threads
37,440
Messages
973,678
Members
24,806
Latest member
mamanyota

Gallery statistics

Categories
1
Albums
29
Uploaded media
372
Embedded media
1
Comments
25
Disk usage
1 GB