Posts

Besisika · Jun 4, 2014

I own the YN622c and I agree with Francois that it is fantastic. I had a Pixel King before it and that one was very unreliable and failed after few photo sessions. I might have had bad units.
The YNs on the other hand work nicely. What suprised me was that I put them on opposite sides of the room and they still get the ratio right even when the dancers moved onside to other on the floor.
HSS works fine as well. I am not sure if it is 200 or 250. I used it withYN 568 EX II as well as the Canon 480 EX II and works flawlesly at 160 (my standard). My manual flashes create banding starting at 250 and a total black above 640.
Creatively, when shooting perfomers from far away, I use an Einstein 640 as ambient light (fill light) -which doesn't do HSS in my case, and the 568 to be the main and rim light and I end up having the stand well lit, while the spectators underexposed due to the banding, but still seen (close to a silhouette - light from the speedlites); Shutter speed: 320.

sdsr · Jun 4, 2014

unxpectederror said:
If your looking to shoot landscapes your looking at the completely wrong system.. I own Pro and Semi Pro DSLR from both Canon and Nikon.

my recommendations for a camera in your price range would be a refurbished D7100. the reason for this is simple, it has more pixels and it has a much larger dynamic range then any thing canon offers. It also lacks a AA filter which allows for more detail. the dynamic range is worlds better on Nikon cameras.

Well yes (leaving aside the exaggerations), but if you're going to suggest looking "outside the box" it's worth noting that a Sony a6000 is cheaper, smaller, lighter, probably has better IQ, being mirrorless avoids the need for the tiresome AFMA routine and offers focus points over most of the sensor and, perhaps more important than any of that, you can easily (unless you need fast AF) use any Canon lenses on it -something the OP wants to do, after all, and which you can't do on a Nikon ....

Mr_Canuck · Jun 4, 2014

scottkinfw said:
I won't comment on when to pull the trigger to buy.

I will comment on the lens itself. I have both the 2.8II and the f1.4L is. I prefer the latter for travel. It gives me great iq, is much easier to carry due to size/wt vs the 2.8 (and where weight is a limitation, this may mean you can pack another lens or body). I love this lens. If I had to sell one, it would be the 2.8.

sek

Here's whom to listen to, someone who has both and has tested them for travel.

dadgummit · Jun 4, 2014

privatebydesign said:
mackguyver said:

I would never have purchased the M at it's real price, but I got a great deal on the set with the body, flash, and both US lenses. I don't really understand the way people go on and on complaining about it - those complaints might have validity in terms of price, but since the firmware update, it's a solid little camera. As I've said before, my favorite thing about the camera is that it's an EOS. Other than 2 or 3 unique settings, you can pick the thing up and never read the manual. I love that. The other small cameras I have used have such crappy menus they made me want to throw them against the wall. For example, if I want to set the M to a flash sync speed between 1/60s & 1/200s, I can. It's just like every other EOS I've used. The touchscreen is pretty cool, too.

Click to expand...

Yes I love my little M. I plan to convert it to infrared once I find out if canon is going to make an updated version or if they force me to go to Sony or Fuji for my mirrorless needs.

Absolutely agree, I really like my EOS-m, best compact ever as far as I am concerned, mainly because it is an exceptionally small travel backup when I already have the lenses. For me EOS system integration was the primary selling point, but I don't find the AF or anything else about it disheartening. I'll be very interested if they import the M3 and it can use the G1X MkII EVF.

traingineer · Jun 4, 2014

Are Campbell's Spaghetti Os good enough for the guy?

Pappa Smurf · Jun 4, 2014

As interest rates for savers are rubbish I decided to spend some pension on a new Sigmonster (Good reasoning eh

). I have had it a week but the weather since the purchase has been dull. However I have been out in the garden playing with it attached to a Canon 5D Mk3 on Giottos MTL9361B and a Triopo DG1 gimbal head. As long as the light is reasonable and you can keep the shutter speed up you don't have to worry about the shakes. However, if the light drops you need to let it settle on the tripod (for a few seconds) before taking the photo. Last night I tried it with a Canon Mk3 1.4 converter and it still AF's even in poor light. I am obviously still getting used to it and have yet to use it in anger on a sunny day (I believe we will be having one in July) but I have had some excellent results just with the birds in my back garden and I can't wait to get out and scare some nature with it. I will post some results in a while.

skitron · Jun 3, 2014

I had a 50d and 5d2 at the same time and was able to compare focus accuracy and was able to test and repeat results showing my 50d had a much larger in focus zone than the 5d2. This meant I had not so good percentages of in focus shots with my 50d using fast primes while the same lens did fine on my 5d2 and now 5d3. I liked the 50d except for that fact. It was fine with smaller apertures.

ajfotofilmagem · Jun 3, 2014

Brighter than Tokina 11-16mm F2.8, and has autofocus lacking in Samyang lenses? Only Sigma 18-35mm F1.8, but not very wide. I really do not need UWA lenses brighter than F2.8. I would love a 15mm F2 lens with autofocus. After waiting a long time for Samyang 10mm F2.8, I will not pay $ 530 for it now. So I do not see any vendor offering the lens you want.

mustafaakarsu · Jun 3, 2014

B&H says it's in stock now.
If I order it from them, including customs it'll be even cheaper than getting one in England.

Canon Rumors · Jun 3, 2014

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<p><span style="font-style: italic; color: #222222;">Highlights Include Demonstrations of the New CINE-SERVO Zoom Lens and DP-V3010 4K Reference Display, and In-Depth Seminars and Workshops</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><b style="color: #222222;">MELVILLE, N.Y., May 29, 2014</b><span style="color: #222222;"> – Canon U.S.A., Inc., a leader in digital imaging solutions, will showcase its full line of professional motion picture equipment at the 2014 Cine Gear Expo in Los Angeles, CA from June 6-7, 2014. At Booth 12, Canon will offer visitors the opportunity to demo Canon Cinema EOS and DSLR cameras, Canon HD Video Camcorders, and Canon optics, including the new CINE-SERVO 17-120mm T2.95 zoom lens. Canon will also exhibit cinema workflow solutions including the EOS C300 and EOS C100 Digital Cinema Cameras featuring the Dual Pixel CMOS AF Feature Upgrade, new XF205 and XF200 Professional Camcorders, and the DP-V3010 4K Reference Display, now available for purchase.</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><b style="color: #222222;">Industry Seminars</b><br style="color: #222222;" /><span style="color: #222222;">Canon will host three informative seminars featuring renowned cinematographers and industry leaders, who will showcase their work created using Canon equipment, while sharing their best practices and real-world insights into the art and craft of cinematography.</span></p>
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<p><b style="color: #222222;">Building Your Camera Kit: Experts Break Down Their Must-Have Tools</b><br style="color: #222222;" /><span style="color: #222222;">Zoran Veselic (Human Voice)</span><br style="color: #222222;" /><span style="color: #222222;">Alan Newcomb (Tusk)</span><br style="color: #222222;" /><span style="color: #222222;">Rachel Morrison (Gap commercials)</span><br style="color: #222222;" /><span style="color: #222222;">Suny Behar (HBO camera test)</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><b style="color: #222222;">Canon Live Learning Workshops</b><br style="color: #222222;" /><span style="color: #222222;">Canon Live Learning (CLL) will be hosting two workshops at the Canon Hollywood Professional Technology and Support Center for those who would like to learn more about the Cinema EOS Dual Pixel CMOS Autofocus feature upgrade and high ISO shooting.</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><span style="color: #222222;">Canon Technical Advisor Brent Ramsey and Cinema EOS Pro Market Representatives will be on hand to answer questions and demonstrate the Dual Pixel CMOS AF upgrade and showcase the capabilities of high ISO shooting when capturing images in near dark situations. Dual Pixel CMOS AF technology was originally introduced in the EOS 70D DSLR, and now, Cinema EOS users will have the opportunity to take advantage of this new technology in both the EOS C100 and EOS C300 Cinema Cameras, which significantly improves focus acquisition performance. Developed with the single-operator in mind, Dual Pixel CMOS AF delivers a smooth, continuous autofocus without excessive searching or blurring, greatly enhancing the quality of “live” focus transitions.</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><span style="color: #222222;">The workshop schedule is as follows:</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><b style="color: #222222;">Friday, June 6th</b><br style="color: #222222;" /><span style="color: #222222;">12:00pm – 2:00pm | Canon Hollywood Technology and Support Center (6060 Sunset Blvd., Los Angeles, CA 90028)</span><br style="color: #222222;" /><span style="font-style: italic; color: #222222;">A limited number of Canon U.S.A. Factory Service Clean and Check coupons will be given out on a first come, first served basis.</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><b style="color: #222222;">Saturday, June 7th</b><br style="color: #222222;" /><span style="color: #222222;">8:30am – 10:00am | Canon Hollywood Technology and Support Center (6060 Sunset Blvd., Los Angeles, CA 90028)</span><br style="color: #222222;" /><span style="font-style: italic; color: #222222;">A limited number of Canon U.S.A. Factory Service Clean and Check coupons will be given out on a first come, first served basis.</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><b style="color: #222222;">Camera Giveaway</b><br style="color: #222222;" /><span style="color: #222222;">During Cine Gear Expo, visitors to the Canon booth can enter for a chance to win one of two prizes: a Canon EOS 5D Mark III Digital SLR Camera (retail price: $3,399.00) or a VIXIA mini X camcorder (retail price: $399.99). Two winners will be selected and notified of their prize after the show.</span><br style="color: #222222;" /><span style="color: #222222;"> </span><br style="color: #222222;" /><span style="color: #222222;">The 2014 Cine Gear Expo Los Angeles is held from Thursday, June 5th through Sunday, June 8th at The Studios at Paramount. Registration is free online until May 31, 2014 at 12am PST. To register, visit:</span><a style="font-weight: bold; color: #003399;" href="http://www.cinegearexpo.com/category/register/" target="_blank" rel="nofollow">http://www.cinegearexpo.com/category/register/</a><span style="color: #222222;">.</span></p>

Laktibrada · Jun 3, 2014

seems like i will be selling the 100mm zeiss at a slight profit (bought it really cheap)

i hate to part with it (will miss that smooth zeissy feeling when focusing, the buttery bokeh and the extreme sharpness), but i have that area covered with the 70-200 4 IS (yeah... not THAT sharp but will do)

and with the extra cash i will just go ahead and buy the overpriced monster, from which my wannabe career will profit the most...

24-70 2.8 II
70-200 4 IS
50 1.2

seems like a nice universal setup...
should make me satisfied for some time i hope... although... i was pondering a decent tripod for a long time :

;D

Mt Spokane Photography · Jun 2, 2014

Valvebounce said:
Hi Mt Spokane.
I would have thought that they would need the whole number to report it stolen, or are you saying that it is only the last few digits that are different, the first bit being the same on all bodies of the same type so they can generate the whole number? In which case that wouldn't prove it was a particular body would it? I have no knowledge of the numbering scheme, so I'm looking to be educated, not arguing.

Cheers Graham.

Mt Spokane Photography said:

Valvebounce said:

Hi Dstppy.
What Neuro said!
If you want to prove the count is from the actual camera you are selling just quote or show the last 2 or 3 digits. Not enough for someone to claim ownership of the camera, but enough to tie the shutter count to the camera.

Cheers Graham.

Click to expand...

Show the first three digits, those tell a buyer what he needs to know. Most lenses have one of two or three ranges of digits, and the last digits are all they need to report it stolen.

Click to expand...

Serial numbers for bodies and for lenses follow a different scheme. For lenses, Brian at TDB had it figured out thru 2013, but I haven't seen a update. The first two digits are a date code of sorts.

Camera bodies seem to have the first digits indicate the model number.

traingineer · Jun 2, 2014

nubu said:
It is true that clip in filters cannot be used with EF-s lenses because of their prodruding lens elements entering deeper into the body!

"you do need a longer exposure to get excellent results" I dont understand. That may be true for any filter you put in front or behind your lens and is NOT specific for clip in filters.The clip in filters have exactly the same effect of filters you would screw into your telescope...

One thing to note is for ALL interference filters is that their effect is light angle depending (because of the many layers they consist of and which have the wrong separation when looked at in a tilted manner)!. A consequence of this is their possible unevenness for wideangles when using them in front of the lens and for low focal ratio lenses when used behind the lens. Especially narrow band filters for e.g. Halpha should be bought somewhat broader when used in fast systems! The manufacturers state such limitation in their description!

Sorry about that, should of mentioned that. :-[

jebrady03 · Jun 2, 2014

mackguyver said:
jebrady03 said:

Seems to me like the OP is on this site to drive traffic to his own website. Looking at one page of his recent posts shows spammy links like this one as well as 2 or 3 regurgitated compliments from one thread to the next.

Click to expand...

I've noticed that, too. Maybe it's time to respond...

Done

Reported to moderator. We'll see what happens.

kaihp · Jun 2, 2014

http://www.lensrentals.com/blog/2014/06/comparing-rangefinder-and-slr-50mm-lenses-version-0-

In short: the Sigma looks even more drool-worthy from this, from a pure specmanship point of view. Bravo, Sigma.

Hopefully, the reports of the AF issues will fall away and never to return.

surapon · Jun 2, 2014

Click said:
Have a great vacation. I'm looking forward to seeing your photos .

Yes, Sir, Dear Mr. Click.
But this time, I will bring very Minimum Camera Gear, Yes, Just Enjoy my trips.
Have a great day, Sir.
Surapon

verysimplejason · Jun 1, 2014

I'm happy with my 24-105L. Besides having that extra 30mm, it's also lighter. It's a truly good all-around lens. I'd love changing to the more expensive and sharper 24-70mm F2.8 II but can't find any justification for it since I do have some primes for low-light/studio work. Here are some samples of the 24-105L at MFD.

FEBS · Jun 1, 2014

GammyKnee said:
Here's an explanation of why ETTL flashes can produce lower output than their lowest manual setting:

http://photo.stackexchange.com/questions/18300/why-is-manual-flash-at-the-lowest-power-stronger-than-the-ttl-result

It's damned annoying because when mixing flash with ambient in low light conditions with high-ish ISO, you've really only got two choices:

[list type=decimal]
[*]Use your strobes in ETTL mode (for off- camera this means cables or the more expensive remote triggers), or

[*]Use some pretty heavy light modifiers on the strobes to forcibly reduce their effect
[/list]

Thanks to Gammyknee and Privatebydesign I learned that ettl flashes can work at lower power as minimum setup in manual mode.

I did look to the link, and I can understand that Ettl is doing a calculation and based on the result, a setup will be chosen which must not be a multiple of 1/3 stop and which might be lower then 1/128. I understand that 1/64 in the past required already several swiths positions or more recent more leds (6) on the backside of the flash. however with the current digital displays it would not cost more to add a 1/256 or even 1/512th level. And that's 2 stops lower as the current 1/128. So, why would a flash manufacturer not give this possibility on the display if technically it is available in E-ttl. On the other hand, 1/128 gives a flash duration of about 50us (1/20000 sec). So 2 steps lower, we will have flash durations of 10 to 20 us. I wonder if the light wouldn't be more yellow in that case caused by the very short period of flashing. So in the next months (after summer), I will do some tests with the 565EX and 568EX to see how much lower power I can get in E-TTL and also look to the color of the produced light. If any other member might have done something similar already, please feel free to give feedback.

Thanks

Francois

Helen Oster · Jun 1, 2014

CANONisOK said:
Thanks in advance for any information you all might be able to share.

If you buy a used lens rated D, E+, E or E- from Adorama, you get a 6-month warranty, which includes a 30-day returns period for exchange or refund.

sagittariansrock · Jun 1, 2014

Re: Rant about 5DIII

TexPhoto said:
sagittariansrock said:

Ok, totally my noob mistake.
I should have caught it, no idea why I didn't- excitement and adrenaline, etc. maybe.
I was on low speed continuous- here's why:
Turning my main wheel didn't bring up the high speed continuous. It didn't even now, skipping straight from single shot to the low speed cont., until I went into the Q menu and brought it up. Weird.
At the event I didn't notice the H icon wasn't there, just was puzzled about the slow speed.

Oops

Click to expand...

Anytime you are coming up on the "once in a lifetime" shot, check your settings, fire a test shot or burst, look at the result.. It's a tough lesson to learn, but our cameras have sooooo many settings, most of which you can't even see. How many of us have shot in broad daylight at ISO 12000+ because that is the way set up last night?

Very true.
Fortunately in this case, I made the new doctorate toss his mortarboard over and over until I got the shot

May 31, 2014

So, I'd thought I'd stop by my local store to see when these would be coming in...and to my surprise, they already had some! Long story short, I walked out with one. I do not have any experience with the 10-22, although I do have the 11-22 for the EOS M (and the 16-35 2.8 for FF).

First impressions...

- The one thing that jumped out at me immediately is how LIGHT this thing is...definitely easy on the arms - balances well on the SL1, too. Great size for traveling.

- Unlike the 16-35 (and 10-22, I believe), but similar to the 11-22, this is NOT an internal zooming lens...the barrel is slightly extended at 10mm, retracts into the body until about 15mm and then extends again SLIGHTLY until 18mm. It barely extends out, though - probably a centimeter at most.

- This has the "STM" focusing mechanism just like all of Canon's newer entry-level lenses...mainly optimized for video. It is virtually silent in a normal environment (in a super-quiet room, you CAN hear a faint, high-pitched whine as the lens focuses).

- The filter size is 67mm, and the front thread (?) does not rotate when focusing.

- For those that have the M + adapter: there is a noticeable difference in FOV between 11mm and 10mm (this lens can go wider), and this lens is light enough so this could be another UWA option to consider.
_______________

So, overall thoughts...

Positives

- Light, compact, easy for travel

- Very good center sharpness throughout the range

- IS works well (I was able to get keepers down to 1/4...for those using it with a 70D or larger camera you can likely do better)

- Very affordable at $300, and very high price/performance ratio

Negatives

- Some edge/corner softness observed, particularly at 10mm

- Purple fringing showed up in a few of my shots (wide end)

__________________

So...I think that this is a great lens for the money, although those looking for top UWA performance will want to look elsewhere (and likely will, anyway). Compared to the 11-22, I found the 10-18 to be softer near the corners...but that's more of a testament to how outstanding the 11-22 is, more so than a condemnation of the 10-18. Compared to the 16-35 on FF, the difference between center and corner sharpness seems less drastic on the 10-18. Unfortunately I cannot compare it to the 10-22, so I'll leave that one to someone else...

In the end, I wasn't blown away...then again, I didn't necessarily expect to be. But it is what it is - an entry-level/travel-sized UWA lens, and for $300, I'm not going to complain too much. It is plenty good enough for vacation snapshots and casual shooting. I can be pretty demanding when it comes to IQ, anyway.

AshtonNekolah · May 31, 2014

People always get caught up with the latest, man if you love the 7D get it, there is no such thing as the latest camera there will always be new models, the best camera is the one your familiar with and can use with your eye closed not fiddling around with what is what. Cheers. Before all these new models the 7D was a hot shot and still is with skills.

sagittariansrock · May 31, 2014

Dylan777 said:
Unless budget becomes real issue, I would keep the ST-E3-RT. Having all three speedlite at dif. location is huge benefit for me.

I like to mount one speedlite from top, to get some highlight or background light.

Yup, budget was an issue. Not a real one, but I don't like keeping things that I don't use regularly. Especially since I haven't even started using multiple speedlites, it was difficult to justify keeping both.
One can use a lamp or a third party flash for hair light or background light I think, in a pinch.

Marsu42 · May 31, 2014

gshocked said:
I read somewhere that its best to stick to ISOs such as 100, 200, 400, 800, 1600, 3200...
and the not the ones in between as 125, 160...?

Some lower 160x-multiples have a very small dynamic range advantage, but nothing to write home about - but it was the research starting point for Magic Lantern's mini_iso module to provide a real +1/3 to +1/2 dr improvement on full stop isos. See the same link I provided above for information on this.

docsmith · May 31, 2014

I suspect I just need to return the sigma dock, but I just received it and the 50A. I already owned the 35A. But neither lens will twist onto the dock far enough so that the pins on the dock connect to the pins on the lens. The net result is that the software never "sees" the lens.

Anyone else have this problem? Am I missing something obvious?

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