Hillsilly said:

Just looking at the DPReview comparison, the 7Dii file has a lot more chroma noise (ie red and blue speckles). I prefer the X-t1 image for that reason alone. Still, the X-t1 stops at ISO 6400....It would be interesting to see how a lens cap shot on the 7D2 at ISO 51200 compares to one from X-t1 at 6400 that's pushed three stops.

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The reduced chroma noise on the X-T1 is only because the larger stencil size of the X-Trans sensor and the different de-mosaicing algorithm has signficantly stronger implicit chroma noise reduction, you can achieve the exact same effect by applying a slight chroma noise reduction to the 7D2 files.

Last month I purchased an import 1Dx from GetItDigital without issue. They did call me to let me know of their USA model options that cost more, but it was a very polite call and not a hard sell. Actually, it seemed more like a call to make sure that I understood that I was buying gray market and not a USA model.

As for the gray market 1Dx, it came with the menu set for Japanese, which I had to change. There was no warranty card (as expected). The power cord for the charger was a USA cord. I was prepared for a foreign cord. I also had no problem registering the serial number on Canon's website.

In January, I ordered an 18-135 STM zoom as a gift from GetItDigital. I think this was a USA market "white box" lens that was separated from a kit.

When I ordered the 1Dx, I did notice that they advertised USA model 5D3's at a decent price. So, not everything they sell is gray market.

My confidence in GetItDigital first came from CanonPriceWatch.com, which lists them. Plus, this forum has had other posters post positive reviews and I haven't seen a negative one.

I would order from them again.

Precisely. But Even buying a Shogun to go with the full blown Mini, You're still at less than half the price of a C300II with way more capability on the recording side.

gsealy said:

PureClassA said:

https://www.blackmagicdesign.com/products/blackmagicursamini

BOOM

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In doing some research I have learned that BMD and Atomos are working such that the SDI out will be compatible. The Atomos Shogun is about $2K, BUT it can record to SSDs, which are a lot cheaper, more plentiful, and stable than CFast. There are also SSDs now that are near 1TB. Just saying I would rather go down the external recorder route than internal CFast. Our recording sessions are often hours in length. I don't want to buy and fool around with a bunch of CFast cards.

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Agreed - which in turn can make it a bit awkward for anyone below that level. It's not I wouldn't recommend Canon to entry-level shooters, esp. because of Magic Lantern, but purchasing at 6d price and below imho warrants a good comparison with Nikon/Sony.

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The best summary of us who have been long time with Canon and are now looking to move up to FF. Feature/Price is big consideration and Canon is just not competitive in Europe on that level. They are much better in US but hey that's not where i will be purchasing.
But i'll still wait for a while to see if there are any announcements regarding 6DMkII. I'm familiar with Canon systems so ultimately would like to stay with Canon. 6DMkII will be my decision point.

When Canon launched the c300 mk1 a lot of people scoffed that it was only only 1080, and that there were then already cheaper 4k options.

I'm a working cameraman, at that point I worked for Europes largest news publisher, so I was on a lot of shoots, press launches, sports events (manager q&a sessions etc)

It seemed then and seems now that everybody was using c300's. The popularity was in spite of what I was reading on forums, probably written by folk who had handled a spec sheet but never been near a c300 in their sleep.

At that point I was shooting on a mix of ENG, XF and DSLr, and I'll confess that I've only used the c300 on a handful of occassions.

But the success of the camera, to my mind, depended on a few factors, and I think these still apply today to a greater of lesser degree to the mk2, which is facing the same negativity, despite very few folk actually having used one in the wild:

- 50i codec low compression codec. It's what broadcast wants, and what DSLRs cannot deliver
- complete solution, one battery, one record button, good audio built in, works out of the box
- lens compatability, no need for flakey third party adaptors, lenses work as they should
- compact form (no plinths, no guddle of cables to fail)
- iq. High but clean base iso with built in filtration (no horrible fader nds)
- transparent design. Operators can get a good handle on the camera immediately.

Now, none of these are headline features, and not one of them is unique to the c300, and the same is true of the c300mk2.

They are a staid, sensible choice. One might say even dull.

But look at it this way... your lenses just work, your editor can cut straight away without transcoding, you can bump up the iso without gritting your teeth, you lift it out your bag, switch it on and hit record, you don't need metabones (version 5 are we on now?) you don't need a battery the same size as the camera or an external recorder.

I can't think of another camera that ticks all of these boxes, not costing at least double or triple the money.

There are some great bits of kit been launched, it continues to be an exciting market. There are better cameras, but they are costing more money. Much more money.

There are cheaper cameras that seem to offer more, but which past experience tells me will either be buggy, impossible to get hold of, require severe adaptation, or have terrible iq.

Canon, by being conservative, and by making kit that people actually need TO MAKE A LIVING TODAY, and which PEOPLE CAN DEPEND ON TODAY, actually lead the market.

The Op asked, 'can canon keep up?', with whom? The Joneses? Why on earth would they want to do that?

I predict that the c300mk2 will be something less of a success than the mk1', mainly because the only real upgrade incentive is 4k, which people at a factual / news / general broadcast level don't need, and their c300 mk1s are plodding along quite happily.

The cinema moniker to me is something of a misnomer. Despite every 20 year old being a DoP these days, there are still many wner operator camerramen, and the majority aren't getting work in the movies. And besides, thats more where I would expect to see your hired f65s, your hired alexas.

I'd recommend renting a second shooter instead.

Shooting a wedding with rental gear you are not familiar with is a recipe for stress and disaster, find somebody you like and trust to shoot alongside you, plan who has to shoot what with one dedicated to the bride one to the groom to start with and spread the load and the stress.

Yes, as I keep saying, we have very different ideas on what quality printing is.

another "good enough" product to bundle into a cheap FF consumer package.
I use the Nikon cheap FF 24-85mm lens and it actually holds up very well with its less ambitious zoom range, I've been considering that Sigma tho...

Hi Brian.
Just in case you are genuine and not a spammer despite the barely relevant hyperlink at the bottom of the page, have a look here
http://www.canonrumors.com/forum/index.php?topic=13469.msg253466;topicseen#msg253466
Just about all the info you might need though I suspect you will get more.

Cheers, Graham.

BrianTyler said:

Hi guys,

every now and then I see a thread like this with interesting photo-travel tips and so now I thought it would be a good idea to consult with you, because after some time I'm looking forward a short vacation trip with friends and my first visit of Barcelona. It will be in late April, 4days, two couples (not really a group of photo enthusiasts, so I'm not going to make it a main objective), I expect some nice architecture (I thought it would be a nice place to try TS-E, but I'm afraid I won't be able rent it anywhere around), I look forward the sea side (a walk on the promenade, beach, marina) and (hopefully) nice, warm weather for a change

... so, should you have some tips for us, I would like to read them and would appreciate

Thank you!

villas in barcelona

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9VIII said:

It's comforting to see so much interest in a tilting screen on a full frame body.
I'm getting frustrated enough not having one recently that I almost don't care what the rest of the specs are, but a 5D3 with fully articulating screen would be my go-to camera.
Maybe I should just go ahead and forget about everything else and go straight for the T6i, sad to say but dang it you can't frame anything when your lens is six feet in the air facing down.
I'm in front of or beside the camera way more than behind it.

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I would not get the articulated screen.
I think it looks real funny, i prefer the look of the 5D3, but i understand that some people would want it.

niels123 said:

GMCPhotographics said:

niels123 said:

Currently I have the Canon 24 f/2.8 IS (non-L), the Sigma 50 art and the Canon 40 f/2.8 pancake.

I use the 50 art a lot for indoor shooting in low light (mainly at f/1.4 to f/2), but I find it sometimes a bit too narrow on my 5D III. Often f/2.8 is not enough in low light for me. Therefore, I consider getting a 35 art next to my 50.

How is the autofocus on this lens? What are your experiences? How accurate does it focus using center focus? How accurate does it focus using cross-type points on ~1/3rd of the sensor?

How likely is it that we will see a nice new Canon 35 f/1.4 in the next 12 months?

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There's nothing wrong with the current mkI from Canon. It's an amazing lens and mine has paid for itself many times over.

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Do you mean the Canon 24mm f/1.4 L mkI? For what it's worth: the guys from DigitalRevTV claim that mkII is much better (autofocus and flair due to SWC)

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I was replying to the call about when the new 35mm f1.4 L will come out. I like it more than my 24mm f1.4 II L even though it's slightly less sharp.

RickSpringfield said:

PROLOST and check out Bloom and Hurlburt.

Also, no panning. Sliders or cut scenes.

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+1, that's given me the best results: http://prolost.com/blog/2012/4/10/prolost-flat.html

The only thing the f2.8 has, that the f4 doesn´t have, is f2.8. In my view, the f4 win every other objective measure. If you buy it to sell it, it might be that the f2.8 is a better buy, because it may hold its value better (since the one you refer to already is very cheap). But the only valid reason to buy, it my view, is if you really need that extra stop.

Half Way To Nothing said:

Does anyone know of a suction mount that holds an iPhone?

Was over Greenland a few days ago and took the video below.. (Best in HD)

https://www.youtube.com/watch?v=9TcbkmkaWmk

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I looks great! How did you hold the iPhone?

The best advice I learned from Popular Photography a few decades ago was not to buy photo gear to fulfill an anticipated need. Buy only after you have established a real need. Buying in anticipation is a good way to stock your closet with dust collectors.

I have also learned that it's very difficult to predict one's own path in photography. During a 12 month period, not so long ago, I purchased a 60D, an old 35 f2.0, a 70-200 II, a 7D, and a 17-55. These were upgrades to an XT and I thought that I was set for many years to come. The 7D was a dream to use and I could not image needing another body. For a year, this gear got heavy use.

The 5D3 was introduced at the end of this buying spree and there wasn't a FF body short of the newly introduced $7,000 1Dx that could offer the focus tracking that I needed from the 7D. Plus, it's very hard to fully appreciate the benefits of FF until you use one. I was convinced that I would never need to go that expensive route. (Candidly, I didn't want to entertain the possibility that FF was in my future because of the related costs.)

Then, I discovered that I was pushing these crop sensors to their limits with high ISO use and I craved cleaner images with less post processing. Other's started discovering my images and I was motivated to step up my game. That's when I took the plunge with the first 5D3 and it's kit 24-105 f4 lens. Then came the second 5D3, then the 24-70 II and the new 35 f2.0 IS. Of the gear that I bought during the first spending spree, only the 70-200 sees regular use.

I don't regret purchasing the crop bodies, the old 35, and the 17-55 -- all filled a need that I had at the time and all contributed to thousands of images in my collection. Without this gear, I never would have pushed my own envelope in photography to the point where FF became an valued asset.

If my kids were not so active in their sports, I might still be happy with those crop bodies. I don't use that old gear quite so much any more, but I've kept it for my wife and kids.

I've owned many. Several Canon DSLR's, Several Nikon DSLR's, Sony DSLR's, and point / shoot cameras from most makers.

Truthfully, I'm comfortable using any of them. They all have strong points and weak points. Images from all are so good that its the lens availability and other features and accessories as well as customer service that makes the difference.

I think it looks great.

But Blackmagic will have version 2 out before version 1 has made it to the dealers.

I would have preferred an SSD bay as CFAST 2.0 is waaaaay to expensive just now, although the budget atomos CFAST 1.0 cards may be ok for those shooting in 1080 APR.

Looks well thought out. I wish they would do a complete bundle with batteries etc, as the headline cost is usually about a grand lower than the cost for a working unit... they could learn from REDs mistakes in this regard.

The test will be noise. The s35 4K sensor in the BMD was noisy.

Imagine that the camera captured an image (exposure based upon Matrix metering) and then allowed you to adjust to that x% of the brightest pixels where 100% of maximum value, or perhaps brightest pixel at 90% of the maximum value, ..

This would be the helpful in exposing to the right.

Mt Spokane Photography said:

YuengLinger said:

Where has Surapon been, btw?

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Good Question, I'm missing him.

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He is probably busy trying to figure out how he could add his 600 f4L IS to his walk around rig

Surapon; You are missed, so start posting again!

Hi,

I do not own a 7d II, so I can't comment on your issue
How much over exposure do you get, is it a 1ev or more?

Although it does not answer the question in your post, my five cents on using the MT-24EX:
1) the MT-24EX is dated, I can not make changes on the flash via the camera as i can with the 600s
2) in E-TTL mode it works fine on my 1DX, at least to get right exposure, as long as flashheads are aligned with subject, see 5)
3) I use it for close up/macro shots, so I immediately switch to manual flash control on MT-24EX
4) the user interface of the MT-24EX is not friendly (I am in a diplomatic mood), so it can be difficult to get it to do what you want
5) please be careful that the flashheads are PERFECTLY aligned with subject, "one click" on the heads makes a very big difference when working up close.

Let's not forget that the MT-EX24 has not been updated for a long time. It is a tool for the specialist and as such it works!

Hope this helps ( a little bit)

Although I will not buy Sigma (for Canon) due to past problems, its good to have competition. I have lots of vintage film cameras and lenses, including OEM and third party. Virtually none of the old third party lenses will function when I get them, time has been very unfriendly to them. On the other hand, most Canon lenses are fine (Only one had a issue out of many dozens), 60% of the Nikon lenses work well, and about 20% of the Minolta lenses (AF lenses were the worst as expected). Its almost always a matter of lubrication.

Yes a very tempting lens for APS-C. Great to see it in circulation

A Leica T looks an interesting design.
The judges look a happy bunch.

Not that I am thinking of buying any of those lenses but I notice that some are marked as "Optics Designed for 4K Capture" and others "Suitable for 4K Image Capture" or "Engineered for 4K Resolution Cameras" or "Designed for 4K Resolution" and the most simple "Supports 4K Recording Quality".

What does this mean for lenses such as the popular 70-200L f/2.8 ii? Is it just marketing, or does 4K and above require special lenses?

Mt Spokane Photography said:

Zeidora said:

MF gives you fewer acceptable shots, but more dead on. A typical quantity vs quality dichotomy. MF forces the photographer to think about where the focal plane should be.

I remember the winning photo one year of a BBC wildlife photographer: a jumping dolphin at an angle towards camera, all out the water filling the frame. Certainly a great shot. However, focus was in the middle of the body, not on the eye. Clearly an AF problem at wide open f-stop.

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If you are telling me that a manual focus shot would have been on the eye of the dolphin and perfect, I'd be a skeptic.

What is takes for a winning photo is the subject, not laboratory grade focus accuracy. You can have perfect focus and a lousy photo.

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You are missing my point. With AF you have a greater chance of getting something in focus, but lower chance of getting focus where it is desirable. With MF you have lower chance of getting anything in focus, but better chance that you get focus where you want it. AF can work in your favor, but it can also work against you. So AF is not always better.

Completely agree that there is a bit more to a good photo than focus. But an image with not spot-on focus is rarely great (unless motion blur or something of that sort is part of the communication). So while that jumping dolphin was nice, I would have never given it top rank because of the focus problem. Obviously, the jury viewed it differently, and that is fine. Just my opinion. Would the image with focus on eye not have nabbed top spot (everything else the same)? I very much doubt that, it would have been even better.