would be interesting to compare this lens on a Sony A7

East Wind Photography said:

there is no match when you compare it to other brands as a system and not just on noise.

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Lots of qualifiers there.

zao said:

Good lens for selfie)

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mind blown.

We have been living on rumors for a very long time. The 7DmkII is the only thing that Canon has shown for enthusiasts.

Not a bad camera but not as pulse quickening as the competition.

neuroanatomist said:

Marsu42 said:

FTb-n said:

1. Pros aren't demanding it.

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Change that to: The pros that are left with Canon aren't demanding it anymore.
[...]Those who worry have gotten a real camcoder for video by now[...]

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Yep, we shouldn't include all the pros who switched to a D810 or D4s mainly to get an articulating screen. How many pros did that? :

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Neuro, please do try to read whole posts before firing up your "Haaarrrr, those Nikon trolls are everywhere" reply engine, will you? This paranoia reminds me of a particular party in my country seeing commies everywhere, back in the days...



Edit: Well, you cannot read my op anymore because I just managed to delete it by accident (modify instead of quote), but the sentence above was in it and I didn't even mention Nikon

Whew, glad I just sold mine two days ago on Amazon for >$700! (EF 24-70 2.8 Mk2 arrives Monday!)

dash2k8 said:

In good light for slow or non moving subjects, the IQ is about the same. Don't get fooled into thinking anything different.

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Yeah, I've already established that. My overall message was that with similar final output quality, the 1DX has advantages in faster focusing and slightly better low light performance. Machine-wise, the 1DX is superior, I don't think there's a question about that. I guess many people don't think that these minor advantages are worth 2x the money. Seems the 5D3's silent shutter is the biggest advantage. If the 1DX had a silent mode AND dropped in price, would people still prefer the 5D3? I'm curious.

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People choose whatever they want to choose based on whatever reason they want. If you buy things based on statistics you would be lost. You have to take your decision based on your need. But I think you know that.
Many people on this planet will choose their iPhone over a DSLR, which doesn't mean you should choose a tablet as well.
I had a t1i and stopped using it when I bought the 5D MK III, which I stopped using as well when I bought the 1DX.
The 5D III has 3 advantages over the 1DX
Silent shooting, ML and size.
1 - Size: really?
2 - ML: unless you specialize in something that can be done with it only, you won't miss it. The majority of what it does I prefer doing on hardware when needed. It hurt me not to have it on the 1DX when I read the fuss about it, but I tried it on the 5D III and never used it ever again. Don't need it one bit, but as I said it is up to your using.
3 - Silent shooting: I have never met any priest telling me to stop shooting because my camera is too loud. It is in the state of mind - you simply want to be nicer.
You usually shoot from the back and when it is time to go to the front they know you are a photographer and since you already introduced yourself and asked nicely for a permission you are OK. Most of them hate seeing you walking all over the place like an idiot or using your flash when not supposed to.
The only time, I really need the silent shooting is when shooting a goalball, a game for the blind people (sorry if there is a politically correct way to say it). They rely on their hearing to catch the ball and yes, any noise is a disturbance.

If money is important, buy the 5D III.
If you specialize in something and the 5D III can do it and you are sure you won't expand your interest; be my guest buy the 5D III and stop listening to others; it's your life - your decision.

But if it is not, I see no reason what so ever for you to go with 5D III. Reading a paper about them, without extensively using both, won't help.
For my need, that is not a camera. I have the same filling for it, like I had for my T1i when I used a full frame for the first time. It is my back up, it is my video camera, and I cannot live without it, but if Santa buys me another 1DX I will ask him to take the 5D III to another kid.
Let me put it this way, if you have met Godzilla; size matters. Among other things, your lenses will tell you.
My only trouble with 1DX is its price, because it hurts.

Thanks for the reply and advice.

I was aware of the potential problems with AF on this lens when I bought the lens so took out extended warranty in addition to the 3 years offered by Sigma. I did not have Focal when I bought the lens so lack any comparative measurements but my impression is that the lens AF performance has deteriorated over the time that I have had it. From other posts on the web I think that this is also a known aspect of the 35 Art's AF issues.

I will send it back for repair, retest it when it gets back and update this post with the results.

Your welcome. With all the reports of faulty AF within 6 weeks of the release of the 7D Mark II it is possible that it could be user error.

I think just a sleeve for padding during travel. Anything more compromises utility and adds bulk

DanP said:

Do any Canon cameras (or any other manufacturers' cameras for that matter) have an option to provide the user with the hyperfocal distance for the camera's current lens focal length and F-stop settings? I would find this to be a useful function, and even better if the camera could, on operator command, set the lens to the hyperfocal distance (don't know if lenses are sufficiently calibrated to allow for this). If a smart phone app can calculate the hyperfocal distance, I see no reason why the camera manufacturers couldn't program their cameras to do it.

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They could do lots of things but which of the 1000s of ideas should they do. Hyperfocal is not as simple as you might think. If you look at the equations, there is something called circle of confusion which basically is the amount of defocusing you are willing to tolerate. If you print 4x6 or only view your images on a monitor your circle of confusion can be fairly large. If you push your prints to the limits and want images to be tack sharp, then your circle is much smaller.

Mr_Canuck said:

The 16-35/f4 does sound like many people's answer though. Sounds like way more people value corner quality and IS over f2.8.

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Well, the people interested in the 16-35 f4 certainly. As with any lens, if you need 2.8, f4 isn't going to cut it. I honestly think the IS is a nice bonus, but most that bought it only needed f4 to start with.

Personally I can't quite figure out how to say how good this lens is, so instead I'll just say it sucks big time instead. Or perhaps just say it's not as sharp as the TS-E 24mm and doesn't have tilt/shift, nor is it as fast as the 24L and it's not as light as the 17-40.

Here's the technical answer you're looking for - two different communications protocol methods on either side of the adapter, and you, in the middle have to make them speak accurately, quickly & reliably over many generations of gear. Lenses, bodies and firmeware that have been discontinued will be used, yet you are expected to work every time.

Here's a bit on the Canon side of the equation, and ask yourself, at what price is making said adapter worth wild.

http://www.eflens.com/lens_articles/ef_lens_mount.html

I have b+w f-pro mrc which is not the slim version. It works fine without vignetting.

I got a lot of flare with a hoya filter on 17-40 which I previously owned. Then I got b+w for my 16-35. No difference. Flare!! Then I learned to take the filter off when shooting straight into the sun. Problem solved. I just have to remember to put the filter back on afterwards. As for the slim version, I don't see the point.

hanifshootsphotos said:

Mr_Canuck said:

So, when the Canadian dollar got larger than the American a few years back, it pulled the pants down on the publishing and auto industries' price gouging of Canadians. Seems that camera/lens makers got the message too in large part. But why not filter manufacturers? Why are most filters two to three times the price in Canada what they are in the US? Anyhow, I'd never, ever buy a new filter in Canada. It's ridiculous. Rant over.

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Preach! As a Canadian who happens to reside in the US - why does it cost 4X-5X the amount to fly directly into Ontario?!? - while I can simply pay 200 - 300 round trip to fly to DET, BUF or ROC and rent a car and drive over...I agree with your stance, I highly recommend you purchase all your camera gear in the US! (but STILL rent your gear from Lensrentals Canada!!)

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+1

100L has great bokeh. And in weddings you are (typically) shooting more than one person, so you probably want f2.8 at least for enough depth of focus vs f/2 or 1.8 or wider. The IS is nice too. It's a great portrait length on full-frame, between 85 and 135. And you can get super close if you need to.

I personally feel like the 2x teleconverters take away to much sharpness. I rather just use the 100-400 v1 apposed to the 70-200 with a 2x extender. In my experience I get sharper shots that way.

Lol nice. You all are sure mean to this poor guy.

I'd get the 300/2.8 II, the 1.4x Extender and the 7DII.
With a 300/2.8, both extenders and as well a FF and a crop body, you have every FL covered:
300 (bare lens on FF), 420 (FF + 1.4), 480 (APS-C bare), 600 (FF + 2x), 672 (APS-C + 1.4x) and 960 (APS-C + 2x).
That is an enormously flexible, relatively lightweight and handholdable setup, it does cost you 2k less the the 500/4 II, you get the best lens Canon ever made and the flexibility of a second body (backup, practicability).
This would be my choice for wildlife photography.

Like I said I didn't see the video. I think his videos and buying advise are targeted towards the husband shoping for his wife or people just wanting a first camera as a hobbyist. I see what he's saying the 12-35 2.8 seems like a great buy for 1000 dollars compared to what a canon or nikon would charge. So for someone starting out that may seem the better buy. The focal lengths and different sensor sizes are going to produce a different result compared to a ff or crop sensor. I don't know how they market those lenses but he's giving his opinion for free. I wouldn't have used the word cheating like he did but I get the point he's trying to make. He's entitled to his opinion even if we don't agree with him. Some things I've seen I agree with him on and others I dont. At least he's not coming across as a fan boy of just one brand.

adhocphotographer said:

I have a 5DIII, which i love... eventually i would love a second camera (I use my wifes 100D as a back-up/second body when she lets me). Initially I thought i would wait for the 5DIV, but the 7DII is appealing as it would add length to my wildlife shooting... 5D for low-light situations and the 7DII for nice lighting and length! hmmmm... Tough call!

It's a tough call to make. If i where you, i would just take a minute to revel in the fact that our problems revolve around which DSLR should we get as a 2nd body! :

FYI... this pic might be out of context, but it low-light capabilities are important... this was shot after sun-set at iso 12800 5DMKIII + 500mmLII... this is where having FF shines... some slight noise-reduction but not too much! I would never ditch my 5D, but the addition of a 7DII could be beneficial!

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Great shot. Amazing at that ISO. I've never shot with that lens but with the 400 5.6 I get similar results shooting wildlife while there not moving much in low light. It's amazing being able to use ISO that high with the results. And your right it's a good problem to have deciding which second body we need!

c.d.embrey said:

Less than NO INTEREST in a full-frame camera. But I would buy a Canon Mirrorless APS-C camera that was ergonomic like a Sony NEX 7 or A6000, i.e. small size but with a LARGE GRIP.

A Digital camera like the EOS IX APS-C film camera (maybe EOS IX-D). For those not familiar with the EOS IX http://www.canon.com/camera-museum/camera/film/data/1996-2000/1996_eos-ix-e.html?lang=us&categ=srs&page=eos it was a small/light (485 grams/17.1 oz) that used standard EF lenses. It used an optical viewfinder, but a Mirrorless would need an EVF.

Whatever they do please, please, please no 18-Ad infinitum zoomz.

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I'd forgotten all about that camera. I wonder how many they sold? I can't recall seeing one in the flesh, even in a camera shop.

The 6D I believe tops out at around 40mb/s. From very informal testing done with various cards laying around the Sandisk Extreme Plus cards have hit upon the write peak of the camera. They were recently on sale everywhere for about $20 for the 32GB version. This would be my recommendation.

All my 6 lenses required between +4 and +6.

So I conclude that the body required around +5 AFMA to be calibrated, I wish it didn't, but not an issue for me.

weixing said:

Hi,
My 7D2 had no problem so far with my EF 400mm F5.6L by itself, but will hang (sometime cannot power on) when use with the Kenko 1.4x Teleplus Pro 300 DGX. The interesting part is the Kenko 1.4x Teleplus Pro 300 DGX work with my Tamron 150-600mm on the 7D2... AF super unreliable, but at least it try to AF and don't hang...

Have a nice day.

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The issue with the Kenko TC started happening with either the 1D X or 5D MK III and subsequent cameras. With certain lenses, and with AFMA turned on, the camera will lock up and require removal of the battery to reset it. The 100L was the one that locked up for me.

To make matters worse, there are two or more versions of the TC with the same part number, but color dots that differentiate the firmware, and the lenses that don't work are different, the newer version is more compatible.

You can turn AFMA off and get oof photos, or buy a TC that works on newer cameras.

Kenko confuses a lot of buyers with its list of lenses that they claim it works with. They do work with your 5 Year old bodies, but a 5D MK III, 6D, 7D MK II, and maybe 1D X, its a issue.