Main reason to avoid rear slot-in filters especially gels is focus shift. With digital unlike film you have a single point of focus if you shift that then images will be soft. We designed a lens with rear glass filters and it has to have even a clear filter in at all times otherwise it will not be sharp.

neuroanatomist said:

I don't see why they wouldn't...

IIRC, the same RRS foot goes with the 400/500/600 II, and I've put my 600 II with LCF-53 on a Wimberley II.

I suppose RRS wants you to buy their gimbal and Wimberley wants you to buy their plate...

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Thanks, n!

DRR said:

My guess is it's a Sony sensor. Wasn't Canon quoted as saying "we will use the best sensors available in our cameras." recently?

Seems to me that statement has enough wiggle room to allow for other companies' sensors, or sensor technologies, while still maintaining an element of Canon bravado.

If you are only going to use/plan to use Canon-only sensors, that is not the answer you would give unless you followed up with "...which are always Canon sensors"

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I couldn't agree more. Even though Canon is actually using a Sony sensor already in the G7 model, that statement was clearly made to break the ice and let people know that the future can and will look different. Enter 5Ds

I am currently having a problem with my 1DX in that the camera hangs and it would not start up even after turning the power switch on and off. The only way to start the camera is to remove the battery and re-insert.

I have since brought it to Canon Singapore (where I reside) to have it looked at and I was told I have to fork out around USD$600 to replace the motherboard. I bought the body in 2013 from Tokyo and is passed the 1 year warranty. It is obviously a design/manufacturing defect and I have refused to pay for the replacement fee and so far has been exchanging emails between Canon Japan and Singapore to get it resolved.

If you google for "Defects with Canon 1DX Printed Circuit Boards" you will find that there are many people reporting the same problems.

Canon 1Dx fails to switch on - intermittent fault
http://vimeo.com/76656998

Canon 1DX Lemon
http://youtu.be/QRtxWGAQgYI

Forums:

Anyone have a 1Dx circuit board go bad?
http://www.fredmiranda.com/forum/topic/1289566/0

1DX shut downs, won't power up, and circuit board failures
http://www.fredmiranda.com/forum/topic/1332045

Mt Spokane Photography said:

Does the noise continue all the time? When you first press the shutter halfway to actuate the IS, it will make a noise and a click as it locks on, but then it should not keep making noise.

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No, it seems to behave exactly like you are describing, slight "whirring" sound and then a fairly soft "thunk" at lock on and no more sounds after that. I normally shoot sports and live music so it's typically very noisy when I shoot. I noticed this sound when getting some shots at a high school musical. In between lines it was extremely quiet compared to my normal shoots and I noticed it then.

Anyway thanks for the input guys, appreciate it!

Don't worry about that! It's a normal wear mark of the lens assembly.

IgotGASbadDude said:

zlatko said:

Also at the end, another photographer held up a camera on a monopod -- a way to get it up even higher. I'm pretty sure it had a remote trigger and an 8-15 fisheye zoom on it.

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I've often wondered why this method isn't used more often. I even thought about using it to get a wide angle shot from the top of the Empire State Building. In the end, it was too cold that night so I bailed on the idea.

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I did a monopod over a team photo... but 24mm was problematic. I couldn't quite angle it to get the girls closest to me.

StudentOfLight said:

RLPhoto said:

With my MF system, I've seen enough moire to want an AA filter in my 35mm system. I'd want the AA filter as 50mp would be give plenty of resolution anyway.

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Out of interest, what is the pixel pitch on the MF system? If for instance you were to take the same picture from the same spot with smaller pixels wouldn't the moire be eliminated?

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I have no idea. It's a 1.1x 645 crop sensor with 39 megapixels. Maybe someone can do the calculation.

I've seen moire in my 5D3 files occasionally! It's usually a tight pattern on a suit is when I saw it. My Hassy will show it occasionally with a suit, or anything woven super tight and small. Usually you can correct it by standing a little forward or back but sometimes it's just a pain.

I meant I have used CF and Sd cards and both have thrown error 80

spy-glass said:

Why i love my 200mm f/1.8 prime?

Already shoot them side by side. Both are very sharp, i would not take sharpness into account at all when comparing these two lenses. With today's high-ISO DSLRs i think Image Stabilisation is 't that important anymore.

The images from the f/1.8 version has its very own, unique, surreal looking style, while the f/2.0 version gives a more 'regular' looking like the 135 f/2.0.

Cons are the weight and the fact this lens is out of production.

Here some of my 200/1.8 shots where you see the surreal-dreamy bokeh:

These images will definately look different when taken with the f/2.0 version.

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Bokehlicious! Great photos
So your collection is the 50 f/1.0 and the 200 f/1.8. It seems you don't go for less
Or less is more....bokeh

Thanks for these real-world perspectives. We can argue about test charts and aperture vs IS trade offs all day, but in the end the real impact of images, as perceived by clients, matters most. I shoot theater and events with both a 135L and 70-200 f4/is (not as fair a comparison as the 2.8, but still a darn good lens and IS system), and I can instantly tell the 135L images based on color and "pop", and that goes beyond DOF because the same is true at f4. I just love the look of the images I produce with that lens.

Great combo, by the way (135L + 70-200 f4/is). About equivalent to the 70-200 f2.8 price-wise, and gives you convenience of zoom when you need it and good portability.

I would like to try making some You-Tube instructional videos. The biggest problem I see in others efforts is sound. Too often the instruction voice is difficult to hear. I was thinking if I could have a mike (wired or wireless) mounted on my collar it would probably solve this problem.

Can someone give my some suggestions?
Perhaps I am on the wrong track even considering the A2200, should I be using a different camera?

Thanks

Khufu said:

: first off, your earlier reference to those APS-H sensors being used professionally... Yeah, dude, I said larger than APS-C, cheers for perfectly illustrating my point despite framing it as a counter-blow *slow clap*

Yes, the EOS M is obviously an upgrade for the lunar stuff with the added bonus of being relatively super-portable for other applications.

I recommended the 70D to begin with if Sean wishes to stick with APS-C.

Yes, the 5D is absolutely an upgrade from the 500D, outside of the naff 20fps video offering. Do you not agree?

Lots of people are happy shooting sports with a 6D, though depends on one's particular demands. The last guy I met with one and ecstatic to be using it was shooting at the Men's Flat Track Roller Derby World Cup. Some people seem happier than others with it. One comment on CR from a 6D user claimed the IQ of the images made it preferable to the more AF-reliable 7D to him.

I was obviously highlighting cost with that footnote regarding the A7 and 5D... And I was referring to my own enthusiasm towards composing with the broader FF perspective, which isn't an option when your sensor's cropped.. If anything was, that wasn't intended as an attack on you personally - perhaps explains why it doesn't feel like I'm fighting with your shadow or whatever there?!

I've just bought a Pentax Q to test for pixel-density/reach and Micro Photography... I might yet revoke my EOS M recommendation in favour of one of these things

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Awwww but those guys on aps-h are holding themselves back man, why not just go mf instead? You's need to buy new lenses for an a7, so why not just go for 645d then? Dont fink of it as reach think of it as cropping.. lol

Does the 5d do video? you might mean the 5d2? If you can show me a 5d2 that isn't a total wreck for £300-£500 or stolen, then I'll buy one today.

spy-glass said:

Hi all!

I'm new here and from Belgium.

This 50mm puts Canon on the map!

I own this optical beauty and only can say if this lens is SOFT, the OPTICAL CENTERING is off!

Optical alignment can be checked wit a collimator. The chromatic abberation must be evenly purple or green.

This lens is incredibly sharp, ONLY when the optical alignment is right.

This alignment can be done by just unscrew the rear lens mount (contains the rear lens element).
Now you have acces to the 3 screws that holds elements G9 & 10. If these 2 elements are disturbed the lens is soft! Piece of cake to correct if you have some optical knowledge! Centering and testing takes only about an hour of work.

The problem about this... CPS Netherlands don't want align this lens because it's out of production and rare. Thumbs down CPS! :'( It's a real shame!


I did the adjustment by myself with great succes!

Here some examples:

Or my Flickr stream for newer f/1.0's coming...

https://www.flickr.com/photos/28259490@N00/

Regards

Bob

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Great job Bob !
And Amazing work on your Flickr channel !

Ok mine works exactly like yours I was able to change temp through the quick menu button on the back right

iMHO the market should decide if there is sufficient demand to accommodate a particular handicap. The other solution is government mandates and they don't always work out so well.

mwh1964 said:

I bought the 16-35 at full asking the first day of availability. I don't regret a second.

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This lens gets the same sort of acclaim the Sigma 35mm did/does. That lens also does not disappoint me.

mrsfotografie said:

rfdesigner said:

(if anyone can point me in the direction of how to post tables I'd be greatful.. things like <table> etc don't work on this site)

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Take a screenshot and upload an image file?

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I found the solution.. I run NoScript, and occasionally it gets set back to zero.. at which point I lose all the little extras here.. like the table button.

odd.

no xlr cable though Røde say ones coming. Very curious ommission.

Re: More About the EOS 5DS & EOS 5DS R

Thank you Canon! I do expect a forum to be filled with debate and criticism but some of the negative feedback is disappointing to say the least. The fact is the line between a consumer and pro camera is very blurred today, and if anyone that thinks that buying a specific model ie a 1d makes you a pro then canon obviously doesn't agree. A built in battery grip can be useful to many people not only "pros" even though most pros I know use the 5d series not the 1d series. Take The Apple iMac this was never previously considered a "pro" computer but now I bet more pros are using it than the Mac PRO. By the way I say this from a point of privaliged knowledge. Anyway thank you canon and bring it on, I own a 5d3 but it seems this new line up may finally kill my desire for the Nikon 810. In my opinion following the sony model of giving us choice in a range and not trying to make a one size fits all camera is spot on.

privatebydesign said:

jcarapet said:

privatebydesign said:

When the 650 or 700 comes out, which I don't expect soon.

Having said that put your email down with Canon Price Watch, when the refurbs come in they are often priced at $373 with free shipping and Canon 12 month warranty.

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good call. I will do that today. P.S., Gordon at CanonPriceWatch is amazing. seriously, he responded to an order email within 20 minutes on Christmas day. That is insanely good customer service. Too good in fact.

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I believe he is a secret early attempt by Google or Apple or somebody at a future intelligent auto response system.

It doesn't seem to matter what time of the day or night, what day or timezone you are in, he gets the right answer to you personally within half an hour.

I will never by a Canon product again without emailing him first.

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+1.
I am happy to say that CPW must have received (and deservedly) commissions for every Canon purchase of mine since November 2013, and saved me twice that amount perhaps.

Thanks all for your posts. Your advice is most informative and the images on your websites are fantastic and most humbling.

IndustrialAndrew and CreationHeart, thanks for explaining the pros and cons of umbrellas. As a result I did buy some umbrellas (2 convertible see through/reflective, 1 silver double fold) but I got them cheap (@ average $ 15 per at B&H). I will, however, get a 64" soft silver PLM from PCB with umbrella mount as soon as I move in April. Got some great advice from the tech stuff there. I just love the fact that I will get something with pretty directional light allowing me to feather while still wrapping around nicely. Very versatile, and a steal for 50 bucks or so. Thanks, Paulc (Paul C??).

Thanks, Spiros and Jamesy, for the Westcott/Phottix advice. For now, I decided to stick with stuff where I can get access to the flash, and the movement on the Apollo seems too restricted- I will definitely need something like the offset arm if I ever get an umbrella softbox so thanks for the tip, Andrew!

On the umbrella swivels crushing the rods point- both my umbrellas have sealed ends- does that mean that the shaft might be solid or is that wishful thinking?

PW, great advice re bouncing flash, but you do have the knowledge to use a PLM whenever you need to. I need to practice and have that tool in my belt since I am a complete novice with modifiers.

Pookie, thanks for the very informative post. I have seen a bunch of images and the rotalux boxes look great, but maybe down the line. I ended up getting the 24inch softbox but unfortunately one without internal diffuser (there are ones on ebay that do have the baffles, I just got one from Amazon and didn't notice it didn't. I suppose I can DIY a diffuser if I see a hot spot, although I need to figure out which cloth will have the same kind of heat resistance and diffusion. Also, you mentioned baffles to make the catchlight round. How would you do that? (on hindsight, Cheetahstand sells a box with 2 baffles, a grid and the round mask, but it is also 4x the cost. Maybe later I will go for that one when this one breaks).

The Images created by the Canon scream 'fisheye', while the Samyang looks much more natural. I could imagine getting away with the effect for much longer before sickness sets in with the Samyang.

Unfortunately the two lenses don't have similar test shots for an easy comparison, but here are lenstip reviews of both:

http://www.lenstip.com/422.12-Lens_review-Samyang_12_mm_f_2.8_ED_AS_NCS_Fish-eye_Sample_shots.html
http://www.lenstip.com/311.1-Lens_review-Canon_EF_8-15_mm_f_4_L_Fisheye_USM_Introduction.html

bholliman said:

anolis23 said:

I have to say this lens is great, coming from the 400 5.6, this is a much more dynamic and useful lens. You can check out a few pictures with the new 100-400 here, sadly I don't have too many since its brand new and I am now in the dead of winter in upstate NY https://www.flickr.com/photos/puertoricanwildlifephotography/

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Have you done any side-by-side IQ testing vs. the 400/5.6? I'm looking to buy either the 400/5.6 or the 100-400 II. Obviously the zoom is much more flexible, but expect to shoot mostly at 400mm anyway. I'm trying to decide if the zoom versatility and IS is worth the extra $1K.

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There have been several comparisons on the web - there isn't much between them in IQ at 400mm. The MTFs etc on photozone.de favour the 100-400, TDP has them very similar on FF, but the 100-400 seems to gain a bit on crop. Tony Northrup has the 100-400 the winner. I wouldn't worry about the difference in IQ. The 400mm is an excellent lens and very good value. The 100-400 is much more versatile and the IS enables a much wider range of possibilities. I'd miss about 80% of my shots if I didn't have IS, but that's the way I use it.

I found this great video showing how the rolling shutter on the EOS 7d (and presumably all other Canon DSL models)
http://www.dpreview.com/articles/7983095405/canon-7d-mirror-box-filmed-at-10-000fps
Fascinating....

It also shows just how robust the 7d actually is. I say to my friends that one of the reasons for owning Canon equipment is just how tough it is. Everything about these bodies makes them real users' machines - big positive buttons, solid build quality.... I also have an Olympus EM-10 which I acquired the other day. Now it takes great pictures but its toy-like build quality instantly puts me off using it except in good weather no-drop situations. Has anyone seen that video that that Kai guy (DigitalRev) did where he tries to destroy a 7d? I do feel tempted to go to the dark side sometimes for that high DR, but I love my Canon equipment too much for now. The 50mp jobs that are coming out do interest me but there's no way I could afford to get one for a long time, and given the need to upgrade my lenses while I'm at it.