Re: 35 L II, loose front end??

jd7 said:

Just for interest, maybe the following para in the LensRentals teardown (http://www.lensrentals.com/blog/2015/12/canon-35mm-f1-4-mk-ii-teardown) is relevant?

And when the screw was removed, we found that each hole contained a brass reinforcing spacer with a spring around it. So basically each of the 6 screws passes through the brass spacer and screws into the front barrel, with a spring maintaining tension. This is an expensive way to do things and obviously serves a purpose. It may be to maintain even tension on the focusing ring (which is right below the filter barrel), to provide a more even stress distribution, or probably is for something else entirely. But just because I don't know what it's for doesn't mean I can't appreciate the careful attention to detail taken here


Viggo, you do seem to have been punished very harshly by the camera gods - problems with your 1Dx and Sigma Art lenses. Hopefully, though, there is no issue with your 35L II.

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Yeah, I've been very close to just give up everything photo related. Perhaps go Leica which I have used some and to manual focus a Leica is too easy, at least when nothing moves. But I love my Canon gear, when it works it's impossible to fail, but the line between that and setting it all on fire is wafer thin ...

Nice to know the 35 is okay though, and It seems okay on the 6d, but that camera is just too limiting to me.

way ahead of you

tcmatthews said:

neuroanatomist said:

Well, Canon sure missed the boat by not making big dSLR announcements at CES. After all, cameras and imaging are a huge part of the conference - that's immediately obvious from looking at the site naviagtion...

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They sure did miss the boat they should release a wearable 1Dx.

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Yep, looks like Nikon even beat them on that: http://www.gizmag.com/halloween-camera-costume/20331/pictures

rfdesigner said:

brianftpc said:

After seeing the Nikon D5 only allowing 3 minutes of 4K probably bc of heating issues Im left to wonder why dont these bodies have some sort of rubber stopper just like the ones that cover the connecters that you can just remove while shooting in 4K to let the heat escape these weather sealed cameras. The only catch is that you dont use it in a possibly hardware compromising environment...like outside in the rain when shooting 4K. Seems like an easy fix for a big problem like heat. You can even have a mode that activates tiny fans that you select when you have the stopper removed.

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4k doesn't have to mean enormous heat, it all boils down to the voltages used and capacitances on the chip. Additionally adding a thermal path from the sensor to the bottom of the body would allow for an external heat sink.. even it it doubles as a mounting arm in a video rig. I can see camera makers would normally prefer to give fixed promises of performance, point is I think a lot of people would be happy to take the "video length dependant of external heatsink", we'd then see a raft of heat dissipating video gimbals and the like.

I've often wondered why canon didn't add in a thermal bridge to the base and a chip temperature readout on a port for their 20Da and 60Da cameras, as this would allow for setpoint cooling which would have been a huge bonus. However it would need doing properly otherwise you end up in all sorts of frosting problems.. external heatsinks to keep sensors close to ambient temperature however would be relatively low risk.

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agreed,

if properly set up inside the camera, you could dump a lot of heat out of the tripod mount onto an external heat sink....

I'm in your camp. I've done loads of shoots on the 5DSR and haven't yet produced a single instance of moire. Like you, I do a lot of portrait work with all sorts of different clothing. For all the talk about this camera and moire, I ain't seen any yet on mine ;D

Yours is the first shot I've seen from a regular user that generated it, but LR has a nice moire tool brush to knock it out.

When this camera was announced and all the talk started about no LPF, I really didn't understand. If the 36MP D810 didn't seem to be a big problem, surely the additional resolving power of 50MP would be even less. So far, I've been right.

jaayres20 said:

I have used the 5DSr for countless wedding and portrait shoots. I have, to my knowledge, never seen an issue with morie. Actually I thought it would never be an issue. Well I finally found a shot that had plenty and man is it ugly. It is strange that it happened in this particular shot and not countless others with more pattern. BTW this is a very tight crop of a much larger image.

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Re: Image Sensor & Lens Patents from Canon

Came on here to look for info on latest patents and informative discussion. Found hilarious meme's of Jean Luc instead. Was not disappointed! Hahaha! Love it! ;D

dcm said:

Nice feature that was possible when they separated the drive mode (continuous) from delay/remote mode. Appears to follow the logic for bulb mode on other bodies. The switch on the back of the remote allows for immediate or 2 second delay triggered from the remote when in continuous mode. The original M, like my 6D and some other bodies I'm familiar with combine the continuous/delay/remote on a single control so you can't mix them. I'm not sure on other bodies. Maybe we will see this on new bodies in the future.

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I've always assumed the IR remote would trigger only one shot like on other canon bodies, so I never bothered to try. Pretty happy to stumble upon this neat feature. This, along with face detection, will make family pictures much easier. Last year on numerous occasions I wanted to connect the m3 to my phone. No matter how quick I was, it's gotta take at least a minute to set up the wifi. Now with this IR remote, I can do it in a fingersnap.

noncho said:

Come on, we already have slow zooms...
What about some nice 50 2.0, 85 2.0, 135 2.8 and 250 4.0 DO telephoto primes?

Currently I'm using M less (mostly with 11-22 and 22) and with no interesting lenses I'm almost ready to sell.

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Our set-up includes an M1 that has a 22 attached to it, and an M2 that has the 11-22 attached to it.

I am NOT ready to sell.

PureClassA said:

The only reason guys like Metabones are in business are because everyone wants Canon glass on their Alpha 7s for video lol.

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This is definitely true. And as someone who will probably stick with Canon for the stills side of things, I'm going for the $99 Fotodiox adapters to work those lenses into the Sony/Panasonic video environments. Though Metabones makes nice enough adapters that they are worth the price.

Canon is probably smart to take the strategy that they have, which is that they can make money in the full-frame world without committing to video. But, that's gonna bite them 3-5 years down the line when everyone is making the compromise that I am now decides "hey, you know what, Sony and Sigma now have enough lenses that I can transition".

Or worse...people will realize Canon FD lenses are an incredible value on every camera that isnt Canon EOS. They basically build the perfect, cheap, lens line for Sony A7 cine work

The Problem is how the 7d2 came and when it did it did not bring too much tomorrow into today. After 5 years the 7D2 comes with less modern feature set (wifi,touch and tilt screen), same sensor with barely anything better sensor performance over the camera that has been using that sensor for two years that cost almost half the price of the 7d2, mild spec bump in fps, mild spec bump in buffer size, video recording that matches an iPhone from a year before, incredible processing and noise reduction in software that anyone can do with any old program in post at the cost of battery life, insane weather sealing that 99% of the customers will never need and at the cost of more usable features, more focus points spread out wider which is great until you figure out the number of focus points is like the mp war that has been going on, a new flicky knob on the back, single focus point use of f8 autofocus which is something that was useful more years back before we had three great optioned 600mm 6.3 lens so today not much need to use a teleconverter on a 5.6 lens as it slows it all down anyway. all this at the cost of $1700 release, $1500 today and already there have been printer bundle pricing putting it down to a sad $1000.


Problem was Canon made it too heavy duty at the cost of features they should of put in making the camera more future proof. Nikon sadly put way more forward thinking into the D500 with a spec list that blows away the 7D2 with features people demand today and will use tomorrow at only $500 more than todays outdatedish 7d2.

Canon needs to come with the 7d3 with the feature set the 7d2 should of had, esp with the 80D being released that will make the 7d2 even look worse.

There are way too many fanboys of the 7D, when the 70D came out these people rammed it into the forum ground yet that release was more innovative than the 7d2 from the 7d1. They did all the smack talking on the 70D because they either felt insecure their old 7D was well...old or they been waiting forever for their imagined golden unicorn 7d2 and had some weird idea nothing could beat their 7d but only a 7d2.

I am not saying the 7d2 is a bad camera, it is a tool like any other body. In comparison to what this market segment actually uses, needs, and wants it really is in a tough spot. The 70D and even for a few bucks more the D750 bite at the segment in which the 7d2 is in too much and this will get only worse with the 80D coming up closer to it.

dilbert said:

NorbR said:

dilbert said:

Yup. I'm trying to find some good URLs of D4s/1DX at high ISO and found this:
http://www.juzaphoto.com/article.php?l=en&article=113

Based on that, I'd give the D5 at least a 2 stop, if not more, improvement.

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So now we're comparing images converted from RAW without any noise reduction to screenshots of in-camera JPEGs, with unknown noise reduction, on the camera rear screen?

Seriously?

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It seems you missed my last sentence that acknowledges the limitations of what's been presented.

Looks good but we have to wait and see the real results.

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I'm sorry, but these look worse than what I get with my 7DII at 3200.

Sorry to hear about the loss. At less than $400 a year, it just makes sense when you have nice gear and doing business.

Did you expose to the right? Maybe instructor's 7DII was set for this (slight overexposure for example) so the noise would seem less.

K said:

After all, what is the measure in terms of noise / quality per stop or to determine a max native ISO? A manufacturer can say anything they want.

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Native ISO is achieved by analog amplification prior to digitization. Expanded ISOs are digitally pushed (or pulled) after digitization. As you state, that says nothing about noise or IQ.

Although my response won't help your current situation, it may help in the future. Leakage is one of the many reasons to move to Ni-MH rechargeable batteries. Standard (lead-acid) batteries leak. In my personal experience, I have found Energizer batteries to be particularly susceptible to leakage, while Duracells are least likely. If a purchased device comes with a battery brand that I am not familiar with, it gets tossed in the trash immediately. I will not use standard batteries in any device where the batteries will be installed for more than six months. I have been using Ni-MH batteries for over eight years and have never had any leakage whatsoever from any of them. I recommend Eneloops, but there are quite a few brands out there.

http://www.amazon.com/gp/product/B00JHKSN5I?psc=1&redirect=true&ref_=oh_aui_search_detailpage

Dantana said:

I think there is some great advice here from some very different points of view.

My advice would be to not sell any of your EF lenses until you have your new camera. I would get the kit with the 24-105 4 L. It's a great bargain and a very solid lens. Then try what you have on your new body and you will have a much better idea of what you need. The 35, 85, and 200 primes are all very useful lenses to a lot of people.

Just my 2 cents.

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More good advice. My first step into full frame was 5D3 kit with a 24-105. It is a very good lens and one that I still use. But, Dantana has probably offered the best advice so far. Get the feel of a FF body before you start re-vamping your lenses.

It's hard to fully grasp the difference between crop and FF without first-hand experience. It is as if lenses take on different personalities on crop vs. FF. In general, on FF, images can be sharper and pop my with small DOF -- plus the obvious perspective differences. It's a great idea to get accustomed to your lenses on a FF body before you get rid of them.

Just a quickie.

Sounds great but Being that the author is a field tester for Nikon? I don't have or plan on getting any Nikon gear but progress made is sure to follow in other camps so its a good thing. When the author says the ISO performance of the dx sensor is like ff I take that to mean a couple stops improvement.

RickWagoner said:

Fact is manufactures can boost MAX ISO numbers as high as they want to but it means nothing to IQ. When it comes to IQ the limits of high ISO it is more to do with the sensor size then anything else. Though as sensor manufacturing furthers so will higher quality ISO but this is very slow and little. high ISO on the 70D or 7d2 without the bull software is about 3200 imo at the highest. I am sure the D500 will better this a little at the least as it is a sensor created much later than the older 70D sensor.

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According this very well thought-through essay on the D500...

http://petapixel.com/2016/01/09/i-shot-with-the-nikon-d500-here-are-my-thoughts/

ISO 12,800 is outstanding and it can climb seven stops higher.

- A

blb529 said:

I shoot sports with a 7d and non-is 70-200 2.8. With the primary goal of getting better performance at high ISOs, I see 5 real options:

1) 7d mark ii - $1500 on Amazon.
2) Nikon D750 - $1800 on Amazon.
3) Nikon D500 - $2000.
4) Canon 6dii - ? wait and hope the new version is in line with the d750 which would make it viable for sports
5) Canon 5diii - currently, renovated bodies are $2000 on Canon's site with strong likelihood of falling a bit
more as release of 5d4 seems imminent.
6) Spend time learning how to fix high ISO shots in lightroom.

As, from a financial perspective, #6 is currently the only real option - #6 it is. But, in 6-8 months time, what direction do you think you'd go?

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Depends how high you want to go with ISO.

Noise-wise, Nikon's D750 is the best they have and the best in the list you gave above. 24mp gives you some cropping space for sports. It has 7fps which is very decent. The noise is low, clean images and high DR. It also has a fantastic AF system and 2 card slots.

For Canon, I'd skip the 5D3 - it still has great AF and IQ and it is a big leap over the 7D, but your money will be better spent in the next year if you hold out.

The 6D has better ISO performance than the 5D3, but the FPS is awful and the AF is lacking so I'd skip that too. (I know you didn't consider it, but threw it in there)

The 7D2 is a huge leap from the 7D you're currently using. Faster, better AF, and better image quality. Two card slots. Anti-Flicker if you're indoors for sporting event. The price has dropped that you can either just save the money over other cameras, or buy some glass.

The 6D2 is unlikely to have more than 6 FPS ...and in my view, 7 FPS is entry level for action. 8 and above preferred. 10-12 is king. It is also a huge mystery what AF it will have. If it gets the 5D3's...good. If not, then it is going to be weak. Image quality though will likely be superior to any of the choices above, including the D750. At best, it will be a reincarnation of the 5D3 with a superior sensor. But rumors say 1 card slot, so for me that's a no go. Also, it is unknown if it anti-flicker will be omitted from it. That to me is an awesome indoor sports feature. Who in this world enjoys shooting under those lights? Not me. Post-processing is a pain. That feature saves a lot of time and ups quality. Also, the 6D2 is probably 18 months out. Canon isn't announcing the 1DX for another month, and the 5D before summer. I can't imagine the 6D2 making it before the end of 2016. 80D could happen at the 2017 CES show.


D500 ...that thing has the speed we know that. No more resolution than the 7D2. While it has a hyped-up AF, in practice probably no better than Canon's AF. But a huge upgrade from your 7D. Two cards is good. The big deal is the huge ISO claims...

I for one, do not believe that Nikon has made a 1 to 1.5 stop leap in ISO performance from their previous generation crop sensors (D7200). I was comparing images of the 6D a full frame vs the D7200 on noise alone. ISO 6400 images are about the equal of the D7200's ISO 2500-3000. More than a stop better, but not 2 stops cleaner.

If Nikon's claims about the D500 are true, then the D500 will have EQUALED the high ISO noise performance of last generation's full frame cameras.

Um....NO.

I haven't seen that happen before. 2 generations? Yes. A crop that is two full generations/product cycles newer than a FF has equaled in noise. Seen that. Of course, a FF will always have a different perspective, more depth of field and will resolve better.

But hey, if it is true, then I'll get one when the price drops a little. Why wouldn't I want a high-speed crop with as good ISO as a 6D?

I'm not betting on that.

But to your question, I'd guess the Nikon will have better IQ at higher ISO than the 7D2 due to being newer sensor technology. At low ISO where there's little to no noise, they will be equal and the Canon has the edge since Canon has better glass. But that depends on what kind. Nikon's crop glass is good. Canon's advantage is the L glass.

I'd wait...


I'd wait to see if the D500 lives up to the hype. If it doesn't...

The 7D2 & D750 will only drop in price, and these are really capable cameras.


If you can live with losing 1fps and the loss of crop-zoom, the D750 is going to be a giant upgrade in terms of IQ over your 7D. If you want ultimate speed and crop factor, while still getting a big boost in IQ - the 7D2 is it. If having 10fps doesn't make or break your sports shooting, get the D750.

It depends. I wouldn't trade center sharpness for corners...but on my L glass, the corners aren't that bad.

The old Nikon 24-70 has fairly crappy edge clarity with bad chromatics. The center is ok.

I guess I'm spoiled by my Canon 24-70 II

I don't see the 24-70 as a landscape lens, studio lens, or anything where the entire frame needs to be as crisp as possible. This thing is a general purpose zoom, and a wedding photographer's workhorse. The ultimate people event lens. For that, you don't need razor sharp corners.

However, because the Canon is so sharp and has good contrast - it is good enough to do some landscape and studio shots. Certainly, specialty primes are better - but this thing is close enough. It does replace several primes though.

Nikon's isn't good enough to allow one to tinker seriously beyond what a 24-70 used to do. The Canon version is good enough to make you think twice about buying a prime for clarity. It makes primes useful only for their wider apertures.

Unfortunate that Nikon gave up center sharpness to fix the horrible edges. Maybe it was to also keep costs down with the VR? I can certainly see a Canon 24-70 IS hitting near $3K.

dilbert said:

When you're shooting in the dark, the glow from an illuminated top panel is far less intrusive than lighting up the entire back screen.

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Definitely, when my eyes have acclimatized to very dark shooting conditions then the rear-LCD can be painfully bright, even on the minimum brightness setting.

I think Paul Buff speed light accessories are made in US.

brianleighty said:

then let the ttl on camera flash fill in from there.

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Are you sure it will work? AFAIK fill-in works by taking an ambient light metering before the (pre-)flash is fired - if the AlienBee is not fired when the measurement is taken and/or the metering system doesn't take into account a brief flash light, fill-in won't work automatically. IMHO you would need all the lamps to take part in the TTL system, and set the proper ratios among group, or work out yourself how to merge the light sources and set each lamp, as suggested in another post.

The laso works great....i can trigger my off camera flash with the radio in my 430ex 3. The 600 ex3 will also do the same. If you use the laso...you need a master flash or transmitter on the camera...the 600 does not need a laso to be use off camera...it already has a built in receiver.