Dear Friend Mr. SirClownfish.
I use many of this 40 Inches Umbrellas, But Difference Brand Name---So Cheap less than $ 20 US Dollars, and all of them Made in China any way.
Just buy and try to use, If you do not like just throw them away. For me, all of them works, Except, the strong wind damaged them, when fall to the ground with the stand.
Surapon

dilbert said:

How many new printers will be on display?

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Pffft... printers... I want to see how many Thunderbolt 3 film scanners will be up on offer.

I would get:

2 5D3s (to avoid changing lenses all the time*)
TS-E 17 (so many tall buildings...)
24-70 2.8 (best iq walkaround lens)
70-200 f/4 IS (light and sharp)
tripod (night shots)

Nothing else

* Murphy's law can still strike: 2 cameras with 3 lenses... you know the rest ;D

Mt Spokane Photography said:

What I am reading is that the half mirror (Pellicle Mirror) is fixed. A part of the image beam from the lens is deflected down to the autofocus sensor while the rest passes thru to the main image sensor.

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Right, that does make sense - it enables advanced image processing from a (2nd) digital sensor that you cannot achieve with a dslr-style phase af system, but circumvents to overload the main sensor with functionality (af system and picking up the actual image).

I take it the semi-transparent mirror is there to reduce shutter lag, just like on the good ol' EOS RT, with the added benefit of being able to continue tracking while images are taken?

And I understand this design change means that the camera has to have an evf which gets the image from the main sensor, i.e. it still has a shutter blackout (like a traditional dslr, and unlike the EOS RT)?

I am looking at my new car. Still using those old fashioned round wheels. I got ripped off. How long are these lazy car manufacturers going to continue pushing this old technology on the consumers. It's the 21st century and we are still using the round wheel???

No innovation.

johfot said:

To be able to rapidly shift from 28 to 300 with out a lens shift has been critical. Yep, the Canon EF 300/2,8 L IS II USM would do a better job at 300mm, but the 28-300 doesn't have to be ashamed about it's performance. 95 out of 100 off my instagram pictures (@johfot) are shot with the 28-300, the others by Canon EF 24-70/2,8 L II USM or the Canon EF 14/2,8L II USM.
Thumbs up for the 28-300, looking forward for it's replacement

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Thank you

7D MKII vs your 7D

-60p at 1080p
-No aliasing or moire
-Much improved low light performance (closer to 5D3)
-Dual Pixel Autofocus, brilliant piece of technology
-Clean HDMI output with full Audio and Timecode for external recording to ProRes
-Headphone jack to monitor your audio whilst recording
-Better, less compressed codec, 90mbps ALL-I vs 30-mbps Long-Gop
-29:59 minutes recording time vs. 12 minutes on the 7D
-Internal Timelapse mode (intervalometer)

I think it's the best choice for you to mix with the footage from a Canon DSLR (same picture styles and colour science) and since you're uncomfortable with learning an entirely new system.

The 7D mk II is the best Canon DSLR for video right now, as while the 5D3 gains a bigger sensor it lacks many new features on the new 7D mk II.

Bernard said:

That part is not in the article, but it's a valid opinion. Why would you say that you read it somewhere instead of claiming it as your own?

I look at these predictions with some weariness. People were making the same predictions when I was a teenager in the 1980s. Eventually they will come true (they very nearly did before the M8 came out), but it's probably not soon.

I think there will always be an audience for the Leica rangefinder experience, just like there will always be an audience for 3 star restaurants, or improvisational jazz. These things don't need to be "relevant" in order to be successful.

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I concede to your point not because your interpretation is correct but I am too lazy to discuss further.

Relevancy has numbers and the number of TLRs are... not worth counting.

Don't confuse yourself. It will be just like shooting with an APS-C 1.6/1.5x DSLR in terms of final image. (especially identical to the 7D mk II)

A 50mm lens gives the FOV of about an 80 on APS-C
A 200mm gives the FOV of about 300mm on APS-C.

Just multiply by the crop factor available on the 5Ds (1.6 and 1.3) and you'll get the field of view and depth of field equivalent to FF.

niels123 said:

I personally notice that in those moments when 50mm is not enough, I have all the time to switch to 85 or 100L.

My lack of flexibility is in the fast wide angles which makes 18-35 (on crop!) so interesting. It equals 29 - 56mm on full frame and it's only $800, so a lot cheaper than canon's 24-70. I think I don't need the 24-29mm and the 57-70mm focal ranges a lot, especially since < 28mm distortion gets more and more visible.

What do you think, would 18-35 1.8 Art on 7D2 be an alternative to 24-70 2.8 on 5D3? I can then use 5D3 with 50, 85 or 100mm depending on the moment. Also f/1.8 versus f/2.8 makes quite a difference in low-light situations where there is not time to switch from 24 1.4 to 50 1.4.

btw: I also have the 135 f/2L and the 200 f/2.8L (the prime, not the zoom), but I rarely use them on a wedding because I find them too long.

I also heard about horror stories of expensive lens/body combo's falling of (in the water) with the blackrapid :-X

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I haven't owned the Sigma 18-35mm Art but reports suggest it is a great lens in APSC cameras so it is a very promissing option and save you time by changing lenses and the risk to miss a shot. You're correct that f1.8 makes a big difference in terms of light gathering.
Give it a try!

captainkanji said:

I also considered the 90ex, but purchased the Phottix Odin wireless trigger instead. Works great, but costs as much as a 430exii.

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Main reason for the 90EX ...it's $50 US

I've used one with my 60d and 100-400 mki with great results. You can get some really different shots at later times, in forested situations, and in snowy conditions. I will say that if you get shots with the bird looking at you, you'll get reflections in the eyes, but that's easily removed in post.

It does make for a more intimidating camera look which I've found can scare birds.

Marsu42 said:

neuroanatomist said:

Marsu42 said:

I'd be surprised if there wouldn't be a new flash lineup with ettl3 (remote zoom & 2nd curtain remote) down the road to expand on the existing system.

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What does E-TTL flash metering have to do with remote zoom or remote 2nd curtain sync? I suspect Canon could have implemented those in the -RT protocol had they wanted to do so.

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I was taking of "ettl3" in the sense of a new camera-flash protocol, not in terms of different metering - so it could also be called "rt2" if you like that better, though they might want to have remote zoom & 2nd curtain remote for optical link, too.

I don't know if it would have been possible to implement this over the current rt protocol just like that, if so, I really wonder why they didn't at least allow for remote zoom that doesn't have timing problems like 2nd curtain sync might. The argument "the zoom is there to match the lens' focal length" doesn't quite cut it for me, I suspect a lot of people use the zoom for directed lighting instead of "light everything from the hotshoe".

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Got it.

Personally, I've never found a need for changing the head zoom setting remotely, but I can see where some might find it useful. I have tested different zoom settings with a variety of modifiers, and I find that each modifier has an optimal zoom setting. That setting certainly differs by modifier, from snoots to grids to softboxes, and even within modifier type (length of snoot, fineness of grid, etc.), but doesn't change for a given modifier. So it's set-it-and-forget-it, e.g. 135mm zoom for my 1/8" speed grid, it goes up on the boom, done. Or, with bare flash I'm bouncing off a ceiling, and again the zoom is set based on the bounce distance, which is fixed. I change the power, of course, but that's by RT remote. If I shot with off-camera direct bare flash, maybe I'd find remote zoom useful – but the point of getting flashes off camera is to shape the light, and that generally means a modifier.

Thinking further, I do see some future-proofing in excluding remote zoom. The 600 zooms to 200mm, if they come out with a 4x0EX-RT, it likely won't zoom to 200mm. How do you fully control zoom on both if they're in the same group? (Yes, the 600 could be capped at less in that case, but that's a kludge).

Hi Arkarch.
Do you have to go from Wiggins via Wolf Creek Pass? : ;D

Cheers, Graham.

Arkarch said:

Returning east, as suggested, will get you toward Pagosa Springs and the Great Dunes.

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East Wind Photography said:

That being said, I just picked up the Sigma 35mm f1.4 ART. Does a wonderful job on stars. Wide enough to get good star fields but not so wide that you lose all semblance in nebula.

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I am very pleased to hear this! I live in the SE US, so I rarely have clear air, and have not yet been able to use my 35mm Art for astro. But it is quite nice - very sharp, AF is moderately fast and very accurate, and no decentering.

Thanks!

John

John.Andersen95 said:

I have a 6D and Rokinon 14mm, Canon 16-35f2.8 mk2, 24-70 f2.8mk2, and I just picked up the Tamron 15-30 VC f2.8 for night photography the 6D is the best choice right now. Photo is using the 14mm Rokinon f 2.8 14mm

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Very nice shot, John....And welcome to CR.

ReTake said:

FPS doesn't have anything to do with architectural photography, but it was a review of the 5DS, not a review of the 5DS as an architectural tool.

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I believe a review from an architectural photographer pretty much shows it from the perspective as someone using it for architecture. I don't look at camera reviews from wedding or events people to get an idea of what a camera will do for architecture work.

LSXPhotog said:

This is a camera that I think Canon could suffer from almost too mass marketing.

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At £3,000 I don't think that will be a problem!

Outside the studio and landscape arena its cost / benefit ratio is far too low.

1. I have colleagues who make good money shooting airshows through the Summer season and they don't even care that there is an entire range of Canon full-frame cameras, crops are their money-makers. So the 5DS is irrelevant to them.

2. Wildlifers who can't fill the frame at 1200mm won't want to pay that mooney just to add another 20 MP of sky to their processing workflow

3. Even Gordon Geckos who bought the original 5D to keep in the BMW X5 isn't likely to spend that much money on a camera for his kids' sports days. Not when they can buy a 'Hasselblad' for $1600!



I do agree that its life expectancy is short, given that all it brings is megapixels.

davidchang said:

just got mine too.....
i was even looking at which lenses to purchase :-\

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Got the e-mail, pending 'till today bank charge has cleared away.
I too was shopping lenses, flash, batteries etc..
Thanks Sony, you're off my radar once more.

Don't upgrade just for the sake of "upgrading." Ask yourself if you need it first. If you have a specific requirement, and the 6D matches that, then just do that. Sounds like you just want a new toy to play with though. If your goal is to make your photography better, that likely won't happen if you haven't mastered your 60D (or photography in general) to some degree. If you just want to burn money, and you are satisfied with your 60D, then just get a lens. I'd recommend the Sigma 18-35 1.8

Sweet. If you can afford it, you really can see the difference.
I di not miss one of the shots.
And let's be fair.
You come to a shoot and you have The Pomelo.
Hmmmm...so he has the Pomelo.
HTF did he get the money to get one. If he's paid the price, he probably knows what he's doing.
Or he has some easy money, like the mineral or the herbal kind.

Whatever.
It was easy to see who one was Canon which was not.
And then?
And then?
And then?

I still want to have the Pomelo.
OK it cost me 1600 dollars second hand but It Is The Pomelo
Look at the reviews. The Lense.

In that teardown, did they find an explanation for the lack of front filter ring?

Perhaps there was a little handwritten little note inside that might explain why 1mm wider focal length was worth taking out the legs of landscapers. It might say: "Because '15-30' sounded cooler."



- A

Rented the 24-70 mkII once and fell in love. I have and currently use the crap out of my 24-70 mkI. I guess I'm lucky because it has been pretty sharp for me for a long time. Recently sent it to Canon when I noticed some oddities after a trip, and they fixed some things and now its sharper than ever. At some point I want to trade up though, even though I loathe that they changed the filter size from 77mm (all my other lenses) to 80..

PhotographyFirst said:

It's fallen on concrete and rocks. It also fell into the Kenai river while salmon fishing with no case. Never put it in a campfire... yet...

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Falling damage is a weird thing - my phone survived 3-4' drops onto concrete, asphalt, and stone just fine. What killed it? Falling 2' onto laminate "hardwood" flooring. Which has actual "give" to it. There's a whole lot of random to exactly how the impact occurs.