Do we know how far back support for the new system goes? 7DII? 5DIII? Or is it only as of the new 5DIV/1DXII?

I think my old Rebel xti did this. As well as my old 6D, and my now current 5d3 does it as well. Same situation, its just that most of my pressure falls there. Though it hasn't effected performance what so ever as far as I can tell, and hasnt gotten worse either.

neuroanatomist said:

glness said:

The gap between Sony sensors and Canon sensors will only continue to widen at the pace Canon is going.

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Does it matter? Sure, it seems to matter to a few people here on CR, but CR is not the real world.

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Yes, it matters.
It matters for the same reason I no longer use my Canon D6 with EF 35-350, or before that my Konica FT-1 or Rollei, or before that, my Instamatic and Brownie cameras. Progress is good, and it is incremental.

i have been a long time and deep admirer of sebastioa salgados work and i recently came across the documentary of his life and work called The Salt of the Earth. i cannot recommend enough this fantastic portrait of a phenomenally talented man telling a deeply moving story. check it out!!!

http://sonyclassics.com/thesaltoftheearth/

caMARYnon said:

Stone said:

I might be in the minority, but size and weight aside, this seems like a street photogs dream lens. The ability to go from a 24mm standard wide angle to a 35mm focal length would be great for travel and street. The constant f2 would benefit low light event photography as well where adding context to a scene can be very important. I'll definitely give it a test run once I take delivery of my A7RII & suitable adapter.

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Agreed, except A7R2.

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I agree too...except for the A7RII with an "adapter". Street photographers and event photographers require a "fast-focusing" AF lens. I am going to guess that combo is not. Right?
Sony rocks the best FF sensor out there but........

The link is: http://www.dxomark.com/Reviews/Canon-EF-100-400mm-F4.5-5.6L-IS-II-USM-review-Worthy-upgrade/Measurements-Competitive-performer

It's rated only marginally below the 400mm f/4 DO II

Proscribo said:

ahsanford said:

*DXO, despite being batsh-- crazy, oddly gets full marks here as they do update their lens testing as new bodies are released. But that's another conversation.

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I thought they calculate most of the values and doesn't actually test them? At least that's what I've read & it sounds possible as re-testing everything well.. is quite a job to do. I could be wrong tho.

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I've not heard that they estimate values -- that's interesting.

But Roger Cicala's 5DS vs. 5DSR vs. 5D3 resolution figures would imply that's not just a matter of sensor resolution at play. More pixels reward all lenses -- but how much they are rewarded and where in the frame they are rewarded is somewhat inconsistent. I imagine that might complicate running calculations.

- A

Hi RunAndGun.
I think you are thinking of A-DEP, this worked to make sure you had the aperture to cover the dof you required. You had to focus on the near point, then the far point and the camera would select an aperture to suit, I tried it out on my 1000FN, it worked quite well up to a point, I don't recall the camera bothering if it put the shutter speed waaay to low for hand holding, and of course we couldn't just bump the ISO up to 1600 or 3200 or more on better bodies like we can today! ;D

Cheers, Graham.

RunAndGun said:

Some older film bodies did have a depth-of-field auto exposure shooting mode. I've never used it, or delved much into it, but my EOS-3 has it.

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I have the Sigma 50mm f/1.4 Art lens and as people say it's very nice optically and physically, with a fair price.

Still I think Canon could produce a 50mm f/1.4 update and not have to worry about not matching or exceeding the Sigma optically on every characteristic. They 50mm f/1.2L is still a fin lens and for some is the better choice for portraits, the Sigma is more general purpose but it's not f/1.2 so Canon has a few differentiators in their top model and being a "Canon" lens is one of them.

So on the 50mm f/1.4 update, ring USM should be a given, this might affect the size a bit. Or maybe to keep the lens small they will introduce a new dual or tripple linear motor of some-type and that will keep the lens well suited for video. So they can look at a few features as differentiators and as long as the size is kepts under control I don't think people will expect it to exceed the Sigma Art.

• Size/Weight - important these days with mirrorless competition, and trends.
• AF by Canon- go for precision and performance.
• IS - if they managed to get IS in it while maintaining size/weight and reasonable oprical performance then it seems like a large part of the market would go for it.
• Price - as reasonable as the Sigma Art is for the quality, some just don't want to pay that much. With the expected market for the lens, maybe Canon could have at-least two of the above and keep the price no more than $500US. There are some good composites that could be used in the manfacturing to keep weigth and costs down, and with the sub-assembly construction Canon has been using lately parts of the lens could manufactured maybe outside of Japan. Seems like with the high resolution sensors and digital in general the newer lenses are assembled with a bit tighter tollerances so they probably have some new QC steps or machines in final assembly.
• Built-in Hood?

Will it happen... well luckily now with the Sigma I can wait, and I really probbaly don't need any update from Canon as I tend to also use an APS-C mirrorless often now for 50mm equivalent so I can carry the Canon with a large telephoto.

JumboShrimp said:

Have been tempted recently to purchase one of these (used, of course, since it is about 25 years old) and wonder if anyone out there still has one and can offer some first-hand experience. Mostly interested if you can compare it to the current 17-40 or similar-range lenses. This 20-35 lens appeals to me due to its light weight, compact proportions, and f/2.8 constant aperture. And it's available for about $600. FWIW department, our good friend, Ken Rockwell, really likes this one: http://kenrockwell.com/canon/lenses/20-35mm-f28.htm

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It's not light weight ! At wide apertures more separation, glassy - liquid that 17-40. Otherwise not as good. Corners pretty dire on FF by modern standard. I'm attaching a shot at 24mm f/8, and you can see the corners go to blur.

Sporgon said:

Pookie said:

You don't need to show your work but I don't and will never understand that coming from a photographer. I gotta say... that doesn't fly in the crowds I work with. You'd get eaten alive here in Cali.

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Actually the shot of the girl on the bike was taken by private - quite a few years ago in fact.

CR is lucky to have a genuine professional like private who genuinely makes his living from photography, participating on the forum, and can give a reality check to the thirst for gear now and again.

Personally I've got drawn into posting here too much, and I've got tired of it being used as a platform by those who's main desire in life seems to be to spread misinformation about Canon sensors.

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That's quite odd because he can't remember taking this and had to confirm with you what you shot this with? Regardless, you have to admit the quality of light coming from 1 speedlight has nothing on 500ws. There is a real & definitive reason why 500ws on-location professional strobes like these exist and sell like hot cakes.

In regards to this site. It is the main reason I post images instead of talking about cameras and endless blathering about DR/sensors. Call it my personal crusade if you will but I believe showing real world use trumps talk any day of the week. The whole point of a camera and all this gear is making photos, not the other way around. It's what I do for a living and I take pride in it... if I didn't then I would never have survived this long. Too often I find people who complain and moan about their purchase yet can't use 50% of the capabilities of the very same camera they deem "inadequate". One who shall remain nameless here is absolutely delusional.

Prior to these comments about my work from PBD, I use to think he was well intentioned and fairly informed but have always found it hard to understand not showing any work, especially if he's in the business as he says. I used to post here under a different profile but killed it when the 5D3 madness hit here. Now back but really questioning the group of individuals that are frequent posters and whether I should stick it out. I do enjoy photography though and even more, I really enjoy the company of those that share my same interest. I've been in the business paying the bills for 15 years and had photography in my life much longer. I am a member of ASMP, WPPI and WPJA for many, many years... I go to critiques, contests and conventions all the time. Never met a single professional photographer that won't show any work and I have never been confronted by anything less than professional attitude in this realm. I give workshops and share all the time. I am also keenly aware that there is always something new to learn or see from a different POV. When critiques are given in public forum the requirements are mutual share. When PBD makes comments about talent, and I am well aware they were directed at me and not a general statement no matter how much he claims they are not... I will respond. I understand his point that there is little new about this work or anyone else's. Hell, if you get right down to it that is true of most any art these days. To say it takes no talent and quality equipment to perform at a high level day after day is plain and simple wrong, completely wrong and sounds very bitter. Don't get me started on the 50 1.8 or 1.4 you both mentioned. You ever had the AF drive on the 1.4 crap out on ya? I have, more than once.. in front of paying clients. I do get snarky here too when I see less than a solid effort or really poor form because it does take a LOT more to take quality photographs than going out to the mall and buying a camera. It does take more than 20 minutes of fiddling to do what you've shown or I show as our work. It takes years to get past fiddling and know what is needed when you walk on set. It takes years to evaluate the light and then dig into the bag, pull the right gear and more importantly... know exactly what to do almost instantly. Not luck, by design. Sorry, that is directed at the ever increasing flood of soccer mom photographers I constantly deal with but bite my tongue

I'm going to chalk all this up to bad days by everyone involved, I've been hammered by wedding after wedding, and gals wanting beach photos. In the winter I get a bit of a break but right now it's pure madness and I am fraying ever so slightly. But who in their right mind would pass up shooting cheerleaders in bikinis if they want to pay you.

Again, I stand by my words but apologize for the flame war.

I'd skip the now ancient 550-EX for something newer that you can build a system on. In your price range, the YN 600EX-RT would catch my attention way ahead of the old 550-EX which was Canon's flagship speedlight from 1998-2004. So you're talking 1996-1997 tech. It's also unlikely that the 550-EX would still be supported at CPS. Old flashes can be hit and miss. At that age it may have had a prolonged hammering, and on the flipside, an unused or very occasionally used old flash may have it's unique liabilities too. Capacitors in any device perform best with regular use. I've had capacitors go bang in older floorpack and monoblock flashes which had been idle for long periods. It can spoil your day. The principles are the same in a speedlight....just smaller.

FWIW last year I upgraded my heavily used 580EXII's to Canon 600EX-RT's. The 580's were getting unreliable and were going off for repairs a couple of times a year...capacitors, boards & flashtubes. They're not the sort of thing you could ethically sell; I gave them to an assistant.

https://en.wikipedia.org/wiki/Canon_EOS_flash_system

-pw

tpatana said:

I don't get it. Why the thief(s) didn't take the lenses too?

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It appears they targeted the archive, curiously... As we are speaking of a news photographer, I guess one motive could be retaliation from someone or a group that had something against the way he depicted them, or a group that was angry at the subject he covered in his more artistic work.

From my own evaluation, Nadeau was somewhat 'left wing' in his point of view of society and had some work going on about somewhat touchy subjects (although not extremely controversial). I personally found him to be pretty good at showing or right wing politicians in ambiguous or ridiculous postures.

Had I never bought the Canon 16-35 f4L after buying the two ARTs, I'd still use it. And the 50 is a wee bit sharper than the 35, but barely distinguishable. That's not my reasoning though. I do tend to do more portraiture and 35 frankly just doesn't do it for me, unless I'm shooting really wide and my subject is merely a small piece of the framing. That's more rare for me. But if that happens, I'm not shooting at 1.4. I'll be down to f4 .... and thus the Canon zoom does the same job for me. Plus it's just another lens I have to debate over when traveling "which three do I take this time...hmmmm" and more and more I'm favoring my personal trinity of the Canon 16-35 F4L, 70-200 f2.8 IS II, both flanking my standard Sig Art Prime at 50mm. I get wide coverage for landscaping, tele zoom for reach, and one ultra fast bad ass prime for general street and artistic shots.

I'm already considering selling my 35 Sig now, but I'm waiting to see what I want to replace it with.

I think the new 35L2 is gonna be in the $1500 range +/- $150. SO, maybe 10% more for the 50 when it shows up. Canon knows they have real competition from Sigma. They make more per unit at $1800 but I bet they only sell half as many or less than they would at a slimmer margin of $1400.

NancyP said:

PureClassA, why don't you use the 35 Art much now that you have the 50 Art? Just your style of shooting? It is hard for me to imagine that the 50 Art can be much better than the 35 Art, which I find terrific. I rather like 35mm as a general fast lens. Just curious. I don't do portraiture.

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Tugela said:

Because many people want state of the art cameras that shoot state of the art video as well as stills. Why should they have to do without because it isn't something you want?

A modern camera should be able to do both things equally well. If it can't, then it isn't a modern camera. Therein lies the problem - a substantial number of users want and demand that the manufacturer of the system they are using provide such a state of the art camera, and it is painfully evident that at some manufacturers are dropping the ball in this respect. So, yes, these people DO have the right to be pissed about it.

Having a feature you don't use doesn't hurt you - just don't use it if you don't want to. But having a feature you do use absent or otherwise deficient does hurt you.

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I don't agree with your premise that anything else isn't a modern camera - it might not be a camera that checks all your boxes, but "modern" has nothing to do with it. You're assuming that adding it doesn't hurt me - I've seen the claim, over and over, that it's "free", but I haven't seen any evidence that the validation, encoding, etc adds nothing to the bottom line.

That, and the constant bleating about it is as annoying as the DR chants You want video. We get it. Whining on the web won't make it happen.

I think your problem is the limitations of AI servo. It works better for horizontally moving subjects. Set your 70D to back button focus and high speed contiuos shooting. 7 frames per second. I use centre point zone focus on my 7D.
Not all my pics are in focus. But I usually get one or two keepers. I took over 100 pics of a hummingbird flying around a fucshia plant going from flower to flower. I took so many pics my buffer was starting to fill up. I took lots of breaks and watched the red light on the back of the camera till it went out and I would take more pics. Good luck!

I suspect that this is a spin-off of Canon's efforts to assemble all of their cameras robotically. Their target was 2015. The description of the tiny parts seems to match up with many camera parts and assemblies.

Canon's strength has always been their ability to manufacture products for less than the competition. That allows them to sell for less and make bigger profits while others lose money.

http://japandailypress.com/canon-looks-to-robotic-assembly-for-camera-production-152162/

If the 100-400 lens is for m4/3, is it actually 50-200mm? Panasonic has pulled that nonsense before...

Oh... DxO... : (nothing more to say)

neuroanatomist said:

This patent seems like a great idea, we can always use things that get oil near our sensors. :

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... and in addition pay money for that :

My first reaction on this was to check the calendar: no, not April's fools day again.

Double thanks !!!!!!!!!!!! That fixed my 5dII as well.

RGF said:

YellowJersey said:

The Samyang and Rokinon 14mm are both the same lens, just branded differently. It also appears as Bower, ProOptic, Vivitar, and others.

Samyang recently released a new 14mm 2.8 version with autoaperture as well as a focus confirm chip, so you may want to look into that.

Alternatively, the Tamron 15-30mm 2.8 is supposed to best the Samyang as a night photography lens due to better sharpness and excellent coma. the Samyang is still a good lens, don't get me wrong, but it looks like it's been surpassed by the Tamron.

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how does the compare to the Canon 14 on a FF body? If I could afford it, I'd go with the Zeiss 15

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http://stormandsky.com/lens14mm

I bought the Rokinon and couldn't be happier. The extra cash went to fund my 17 TS-E.

I'll take a garbage inorganic Sony POS any day to this.

3kramd5 said:

Canon Rumors said:

NUANCES filters redefine what neutrality means

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press releases can be so silly. Not they don't. They're just more neutral than others (supposedly).

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Well, to be fair- none of the existing ND10 filters are without color cast. So if Cokin really pulls it off, it'll be worth advertising. Having said that, it's really easy to get color cast off a Lee or a B+W.