I'd like the next FM update with 7D2 to include "drive mode" in the custom settings "detail set". If you are going to have AF operation, AF area selection and Case # options it would be nice to have that setting as well. Great for emergency shots which I use the * button mode for. You wouldn't need have to keep the camera in high speed continuous all the time.

hmmmm....

XXX
http://www.ebay.com/itm/RARE-ZEISS-DISTAGON-T-ZM-15mm-2-8-CUTAWAY-MODEL-/301589801955?hash=item4638272be3

and this:
http://www.provideocoalition.com/zeiss_eye_candy

Re: New 17\

BigAntTVProductions said:

so those this mean if the printers are bigger they can make bigger prints and take bigger photo paper if so id love too do 16x19 sports print on luster paper for my football clients

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You could do that just fine right now on the iPF5100 - or currently I'd pick an Epson SC-P800 (or even pick up an older 3880)

There is nothing new about being able to make 16x19 prints

I can only report that it takes noticeably better images than it's predecessor (24-105 F4 L IS) and I have yet to see any colour fringing or c/a. There may be something at the pixel level but nothing on an A3 print.

Still waiting for the phenomenon that fixes the waiting for the 1Dx2 release...to unlash more rumors about the 5DIV or whatever it may be...

Reminds me of this:
http://www.engadget.com/2015/02/13/olympus-air-lens-camera-prototype-accessories/?ncid=rss_truncated

The new head design should provide somewhat improved performance. I remember reading about its development and it looked like it would enable some improvements tho not sure we're seeing those yet.

Unlike HP or Canon, Epson's printhead is not as much a 'consumable' so should not need replacement very often. Still, would be nice if it was as easy to replace as on the competition and if they used the Canon style of ink management that has that intermediate buffer volume to allow cartridge swapping on the fly without risking an air bubble in the line causing a dropout.

Inability to remap a bad nozzle is an issue if you don't deal with dropped nozzles but, as above, Epson heads should have much greater longevity. Keeping all the nozzles firing is another issue. 8-\

ya, really irritating that MK & PK have to be swapped. It's be really nice if they had their own nozzle pair, then they could add the violet ink and run a full 12-color head with no matte/gloss change-over issues.

Agreed LK & LLK are goofy. otta be Gy and LGy

As for the "clogging." I have a theory.
my R3000 can sit for MONTHS without dropping a single nozzle.
my 9900 can drop a nozzle anytime it sits for more than about an hour. Tho I've had it parked as long as a month without dropping a nozzle it's quite rare.
Why the difference when the inks are probably about the same?...

Ink cart's in the R3000 are located above the head.
Ink carts in the 9900, and similar, are considerably below the head.

so, if the capping station doesn't seal perfectly (it's not likely to) and the control valve body behind the head is less than perfect in sealing when you shut down, hystrostatic pressure may cause the ink to slowly flow out of the head and back towards the cart's. You don't have head 'clogs' so much as air voids inside the head. This can then allow the nozzle area to dry out and cause a nozzle clog if left dry for a long time. Dry-out is not likely the issue in a short production halt (when the cart's are de-pressurized) but flowback coulid be.

Anyway, having to blow a bunch of ink to get all nozzles working is like washing a dirty car with gasoline... inefficient and costly!

Making sure the head is clean, the capping station gasket is clean, the wiper blade is clean, the wiper blade wiper is clean...
The ambient humidity is at least moderate and dust to an minimum are all things that may help improve the overall clogging performance of the 900 series.
I think it'd be better if they could re-locate the ink cart's to be at the same average level as the head, or slightly higher.

My 9900 has now been sitting since about July. Ask me how it goes when I restart in early October. I no longer bother turning it on to run a test print... it doesn't help.

Canon Rumors said:

A few weeks ago <a href="http://www.canonrumors.com/canon-eos-1d-x-firmware-2-0-8-spotted/">we reported that firmware version 2.0.8</a> for the EOS-1D X had been installed by Canon service on a few cameras in Europe. However, we still haven’t seen a downloadable firmware update for the camera.</p>
<p>A reader of the site sent us an image of the new firmware on his EOS-1D X, so I imagine we’re going to see a downloadable firmware soon.</p>
<p>We’re still unsure what’s been updated in the new firmware.</p>
<p><em>thanks mathias</em></p>

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Now available on the USA canon site..... from the Canon site, "Fixes a phenomenon which occurs when the "Shutter button half-press" menu item, configured in "C.Fn5: Operation" > "Custom Controls Menu", is set to metering start only; depending on when the shutter button is half-pressed, it may initiate AutoFocus."

Roger, I did a web search and found the following on a language forum:

"Americans prefer eyeglasses or glasses in short and British spectacles, but both are correct on either side of the Atlantic."

"Quite honestly if you said spectacles in the US without wanting to make a joke, you would leave people very bemused!"

"I said spectacles to an educated American friend once, and they had never even heard of them!"

Which explains your amusement.

The most popular "glasses" chain in the UK is "Specsavers"!

The Oxford English Dictionary has the following first citations for the sense of lenses to alter vision:

spectacles: c1430
glasses: 1545
goggles: 1715
eye-glass: 1768

triggermike said:

Opposite side of the building from the sun is lit up??? Side toward sun is in shadow???? Huh??

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Good point!

Sonikon shall bring on every product they think is getting its market share. Competition is good.
Put some pressure on Canon so they'll either improve their products more or they'll make them cheaper.
(Or - hopefully not so - can and will ignore it because they don't see or feel competition )

Local Hero said:

Don't get excited, it's the 24mm as indicated on other shots in the series.

They never had a 14mm on the shoot.

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Yes, the angle of view does look more like a 24mm than a 14mm

jolyonralph said:

No, the EF-M mount is perfectly fine for full-frame, in fact it appears to have been designed exactly to be the minimum size necessary for full frame. virtually identical in size to Sony E mount (and Nikon F, for that matter)

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The position of the data interface pins in the EF-M mount forces the throat to be narrower than the Sony FF mount even though the mechanical interfaces (locking bayonettes) are similar in dimensions. This is the reason I doubt full frame will work on EF-M, perhaps APS-H can work, but with FF I'm doubtful.

I think this camera is Canon thinking outside the box, and while it looks poor on paper, it actually works pretty well.
Like most Canon cameras, you know they just work.

I'd like to try one actually but haven't seen one in any of the shops I frequent here in Sydney.

Dylan777 said:

Skip the Vertical grip. Feel very awkward. Use that money for extra batteries.

Skip the Meta Bones adapter. Use that money toward native FE 16-35 or NEW Zeiss Batis 25mm.

Highly recommend this charger if you plan to have more than two batteries...Ok, I think you do need more than two for a7 series

http://www.bhphotovideo.com/c/product/837349-REG/watson_d_4228_duo_lcd_charger_with.html/pageID/accessory

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I suggest you try the grip before you disregard it. I briefly owned the first gen A7 camera and bought a grip and it definitely makes it easier to use as the bottom of the camera doesn't dig in your palm and your bottom fingers aren't dangling.

I don't know why Dylan feels it is awkward but all the reviews have only positive things to say about the battery grip for any a7 series camera.

Also, there is a $10 app for an intervalometer on the sony playmemories app store.

expatinasia said:

As for your question Mt Spokane Photography, the answer is it depends. I do not think that will be the case here though, it would not surprise me to see another sponsor (or none) at all on the photographer's official bibs but who knows. It depends on the package and terms that Canon has signed and as this is one of the biggest sporting events in the world, there are a LOT of sponsors.

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I was only joking. It does not matter to me what sponsors make photographers wear.

Regardless of the noise and whatnot, the fact that 4 million ISO is even possible is something to get excited about. Just a few years ago none of us would even get near ISO800 for paid work, but the latest cameras are now doing well enough at ISO1600-3200 to deliver relatively low noise.

East Wind Photography said:

scyrene said:

Has anyone mentioned vignetting? Some people dislike it, but it must add to the 'full frame look', given how much of the edges are cropped out on a smaller sensor.

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Not much of an issue these days. If you use canon lenses, it can be corrected in camera or in post with most of the popular editing tools. Many third party lenses are also supported in most editors.

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I meant it as a positive thing. I suppose you can add it in afterwards, but you get less with a crop camera. I'd almost always leave it in for portraits.

pardus said:

There are lots of topics and posts in this forums that are great but am getting so tired of the complainers when a new body is released that is not ideal for their type of photography. too many pixels, not enough DR... GAWD....

Imagine if the auto industry only launched one vehicle at a time, introducing the Dodge Ram truck. all the city commuters would be cursing Dodge that they are breaking their bank and polluting the world, would have to listen to those whiners until the next eco-friendly is introduced, then all the people wanting trucks would be firing off how these tree huggers are ruining the industry and the fact dodge released an eco-friendly car is now ruining their life. So silly.

Maybe if canon released all the new models at once, everyone could be happy and pick what body works for them and their needs. Just stop complaining... so over it.

btw - I am a commercial studio photographer and love both my 5Dmkiii and my 5DS R. both awesome for their own strengths and choose to use each one accordingly. Are they perfect, maybe not, but I use my skills and kit to achieve my desired result and don't blame my gear for the reason my photo sucks. (that's on me)

Click to expand...

What exactly do you mean? Car makers often only launch one new model per year. The difference between (say) a 2015 Accord and a 2016 Accord is very small - typically an option or two, and maybe colors, or a slight tweak of content. There's a change to the fascias (a "facelift") after a couple of years, but very little change during one generation of a model. Even sequential generations can be extremely similar under the skin. You can buy a card during the first year of a generation, or the last, but the age of the model has nothing to do with your ability to buy it.

Similarly, Canon isn't forcing you to buy a Powershot one year, then a 6D the next, then a Rebel, then a 1D. You can buy whichever you want, though some were refreshed more recently than others. It's actually nicer than cars, because you can't get a new Accord (or whatever) 4-5 years into a generation for 55% of the original new price.

retroreflection said:

Andyx01

"You shouldn't need a dedicated lens for tilt-shift."
Except, it is by far the simplest solution.
1. Traditional view cameras have adjustments at the lens and image planes. By a trick of Galilean relativism, you can simply move the whole camera to achieve the image plane adjustments. But, adjustability of the lens plane must be maintained to play the tricks.
2. Tilt of the sensor is a conceivable solution (and you could tilt the body the wrong way, then bring the sensor back to parallel to the subject to maintain square lines). But, what about shift? This owner of a 24 TSE would never trade it for a lensbaby, and I'm not saying that based on sharpness.
3. The fraction of the world's photos that can properly use tilt is tiny. That is based on a combination of subject, operator training, and time to get the shot. A two point AF system is a conceivable means to speed things up, but that second adjustable parameter greatly complicates things (I think it would have to be an iterative search).
4. More actuators equals more failure modes and more cost. Failure modes include inappropriate tilt, broken tilt, extra fatigue of the wiring off the sensor,...
Add 3 and 4 and no manufacturer will ever contaminate a mass market camera with this.

Click to expand...

+ 5. Images of high res cameras contain enough optical information to correct perspective distortion by post-processing and get very good results.

I guess a camera body with a tilt-shift sensor would be huge, quite complex and prone to gradual sensor misaligning. In particular with highly resolving sensors such a technology would require expensive mechanics that is both precise and robust to withstand typical use for many years.

I think in future we'll see cameras with less mechanics that wears off, i.e. good mirrorless cameras with fast electronic shutters and electronic image stabilization like in mobile phones.

Local Hero said:

Ebrahim Saadawi said:

Neat ha? Destroys the Canon, until you see what the rest of it (encoder/recorder) looks like:

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That stuff in the rack is the base station etc. that lives in the OB truck.

This is a broadcast camera, not a camera with an onboard recorder.

ALL broadcast cameras have basestations that look similar.

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Of course. We're drawing a comparison just because they're the only 8K recording camera systems in the world.

The NHK is a 32mp 2/3'' chip (4x crop) with standard REC 709 DR of 7 stops and a b4 mount (so clearly for broadcast) in a box with 4 SDIs outputting 8K data, for whoever can take it. They showed direct feed to prototype 8K Displays, and for recording the Mitsubishi/NHK encoder, enormous but for its defense, it's doing something unthinkable: decoding 8K files st 60fps speed and encoding, into not any format, but 8k HEVC, all in realtime. An amazing piece of technology but the size excludes cinema/film use.

The canon is a 36mp APS-C/s35 (1.5x crop) with 13 stops of DR and a PL & EF mount (so clearly for cinema/film use) in a full featured small C300II body, with 4 SDIs outputting 8K data, again for whoever can take it, but their solution were a direct feed to their own 8k reference monitor from the body, and for recording, the feed goes to an intermediate box for encoding to readable Canon RAW at 60p real time, then this feed to four Q7+ 4k recorders taking one canon raw 4K quarter each and recording to small SSDs either uncompressed DPX. digital negative or even ProRes which so cool for data size (The Q7+ can already take c500 4k feeds so 4 of then was the obvious recording route since Canon doesn't make external recorders). The 4 recorders set-up and rig is already suitable for cinema/film use in Alexa/Red/F65 environments.

If another one 8K recorder comes it will benefit both cameras, but it's doubtfull now, who's building such a sophisticated product for practically two cameras still unreleased.

Here are a few more up-close shots: note the C300 -> box -> battery -> 4 Q7+s configuration.






I am surprised how Canon could go from an 8mp aps-c to a 36mp yet still increase DR by a full stop and keep lowlight performance identical. Their video sensor department seems to ahead of the stills one at Canon for some reason, making an APS-C 10mp true 15 stops DR sensor with A7S lowlight and now this 36mp APS-C with 13 stops and C500 lowlight performance.

An interesting piece of information, three years back, Sony merged their video/cinema and stills sensor design departments into one, which is why we're seeing things like a stills A7s with a cinema native 4k chip and S-LOG3.

So, the rumor of a friend of my husband got true, there will be an (maybe parallel to the 600mm L ISII 4.0) update to the existing 600mm lens.
We fetched him some hours ago at the Airport and he told us that rumors of visitors of this exhibition say, the lens will (maybe) be announced in 2016 at photokina and released in summer 2017. Testing it at the Olympic games next august. Others rumored, it will be in the shop in spring 2018 (ready for the soccer world cup 2018). Who knows??
Price will be higher than 15.000€ as DO and BR technology are expensive to be developed. And he heared, it will be an marvellous lens in optical quality. No exact rumors on weight loss (15-35% rumored).
And it will be definitively high-end-optimized for high MP cameras.

Rumors,rumors,rumors, I know. But who saw an DO BR lens coming some month ago?

Ruined said:

piotrekhc said:

Hi

Recently i bought my 1st dslr canon 50d, and now I'm looking to get a new lens.
I had few lenses in mind but I just cant decide. For example Canon 17-40mmf/4l was my 1st choice good price but apparently it does not perform well on crop cameras, and lack of IS puts me of. So there is Sigma Sigma 18-35mm F1.8 DC HSM but it is massive, and I just don't know, also lack of IS. Finally my 3rd choice Canon EF 16-35mm f/4L but is a bit pricey.
So my question is which would be best suitable lens for general use a bit of landscape some pictures of my cat portraits etc.

Thanks

Pete

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Canon 35mm f/2 IS USM

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Another fine suggestion. The 35 f2 IS would be my first choice in prime lenses for crop.

While the 17-55 is my first choice for a general purpose crop body lens, I often use a 7D/3f f2 IS combination as a grab shot camera.

120MP is useful, but 250MP is specifically for CSI...

e.g. Look at that door handle. Now zoom in, zoom in, enhance, rotate 30%, remove distortion, enhance and print the suspect's face :

Dustin Abbott's excellent review of this remarkable bargain of a lens prompted me to buy one, though as I prefer not to MF on a dslr I bought the Sony E mount variant rather than the Canon. In case anyone cares about how this lens performs on 12mp, 36mp and 42mp sensors in Sony FF E mount bodies, here are some casual photos I've taken with the a7s, a7r and a7rII on the streets around my office on Independence Mall, Philadelphia, and my apartment c. 1.25 miles west of there (all hand-held). The uploads are full-size, but I've included a few crops too. With one or two exceptions they were all taken wide-open as the point of these excursions was mainly to see how the lens performs at f2. (Obviously some of the photos have little aesthetic appeal but were included to show just how good the sharpness, contrast, etc. are at f2.)

https://www.flickr.com/photos/125326482@N07/sets/72157656250501334