Re: Patents: 28-135 f/4-5.6 & 28-300 f/3.5-5.6

paulc said:

Is anybody else afraid of what the new 28-135 is going to cost with that parts list? I'm thinking that can't possibly be the new kit lens, too expensive.

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Not really coz I would never buy such a relatively limited zoom range (28-135) with variable aperture ... besides I like my 24-105 f/4 L IS way too much to go the 28-135 way. But EF 28-300 would be incredibly convenient even it is a variable aperture zoom lens ... I would like it even more if it was an L lens but with the same size and weight of 70-300L ... all wishful thinking at this moment ;D

I noticed it after I got home from taking some photos of my daughter and niece at a local park. The weather turned for the worse and we got rained out, so I had water on the camera as well as my hand.

marekjoz said:

Policar said:

marekjoz said:

As this problem is solved I have another riddle: how to avoid such phenomenons?



Shot @F4, 24mm, ISO 3200, 1/30s.
Hint: it's guessable by looking at the picture

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Don't shoot through a windshield.

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Yes, that's a correct answer!

As a reward you can choose one of:
1. 1dx
2. 5d3
3. EF 400 F2.8
4. d800

You have 5 seconds to make a decision...

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1dx ... no! an EF 400 F2.8 ... damn time is over!

Thank you for the replies. Here is my compiled understanding of the factors that do, or at least probably do, contribute to much higher prices for cine lenses compared to still lenses.

- Uniform size
- Manual iris
- Number of iris/aperature blades
- Geared iris rings
- Continuous (or declicked) iris control
- Calibrated T-stop marks that account for light loss through the lens elements
- Geared focus rings
- Detailed calibrated focus marks
- Elimination of focus breathing
- Glass is optimized for cine circle of focus
- Minimization of distortion of field of view
- Economics of market (production scale, market size, price sensitivity of demand)

I might have missed some important or subtle reasons here, so feel free to add to the list.

These make a lot of sense. In some cases, I should have thought of them. For example, the breathing issue has bitten me in video that I've shot with my DSLRs. I'm no pro, so most issues aren't things that I would have run into, but I can see how important and valuable they would be in a production. I would classify nearly all of these as mechanical and not necessarily things that are related to superior optics (excepting, perhaps, the circle of focus, distortion, and breathing). But, I think I had been way too hasty to dismiss mechanical issues as trivial to both the cost and the resulting moving picture image. They are not. I can see how valuable they would be.

Thanks again for the education!

Very good ...nice post!

Side note...after watching that vid i noticed the 1 trillion FPS "related" you tube video....wow, pretty interesting. did anyone else see that?

Thanks for all the replies everyone. This has eased my mind somewhat. I took some shots of the moon and clouds last night with my tripod and I noticed a small bright dot on a few of the images but i dont know what caused it. I haven't had a chance to get any photos during the day yet so I'm still not sure if it was the particle or something else. I will get some photos this weekend and let you know how I go. Thanks again for all the great replies.

Cheers,

Mark.

From http://www.the-digital-picture.com/News/News-Post.aspx?News=2950:

Canon is reinforcing its commitment to high levels of service with the announcement of an additional one-year warranty for its EOS-1D X, EOS-1D C, EOS C100, EOS C300, EOS C300 PL, EOS C500 and EOS C500 PL camera bodies, providing photographers and filmmakers with two years of warranty coverage in total, free of charge.

The offer consists of a one-year extension on top of the one-year Standard European Warranty System (EWS), under identical terms and conditions, for a total warranty period of two years from the date of purchase (a proof of purchase and the one-year Standard European Warranty System will be required).

The two-year warranty is valid on products originally distributed by Canon within the EU countries plus Lichtenstein, Norway and Switzerland. To be able to claim the additional year of warranty you must have purchased the product in one of these countries.

For full details and terms and conditions you can download the warranty leaflet, http://cpn.canon-europe.com/files/services/DVC_Warranty_Leaflet_EN_digital.pdf.

Wow that's damn cheap

Any updates for Canada?

while i understand that there is more to something than set of numbers from a lone test. that is the empirical data that they use to test lenses, and they don't jive. you left out that TDP had to get his lens replaced due to it not operating properly, and that while i love ken, he is careful of exactly what words he uses. when he says it's the highest performing 21mm slr lens, he mean JUST that. not 24mm not 25mm, not 22. not zoom, not any other of thing. I don't disagree of it's performance. I've never used one, but clearly it's awesome. I'm just telling you what i've read and seen. does it not have complex distortion? bye the numbers at photo zone, isn't it beaten by the canon? Doesn't it have high corner shading? i think so.

risc32 said:

i'm not so sure i'm feeling that hyperfocal stuff. for my exp, focus does matter, even at 24mm. Does the samyang operate in 1/3 stops, 1/2? whole stops or some weird mix? very often setting my aperture precisely is of great importance, and i'm not talking about for DOF's sake. I for one don't care to screw around with anything but 1/3 stop increments everywhere. it's the only real complaint i have with my fuji MF rangefinder. 1/2 stop aperture, full stop shutter speed, what BS. then again running with no batteries and having as fast as 1/500th synch speed is sweet.

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Not sure about the 24mm, but my 35mm Samyang has clicks at f/1.4, then f/2.0, then half-stops to f/11, and f/16.
I started out by pulling it apart and gouging a bit to get a click between f/1.4 and f/2.0, but then I gave up and removed the ball-bearing, so now it's clickless...

I know it's annoying having only 1/2-stop lenses and 1-stop shutter speeds, it's the same on my P6/K60 and lenses. But then, even on my 7D and EF-lenses the exposure's never 'exactly' right, pushing/pulling a digital file up to a stop doesn't ruin much (unless your highlights are blown, but that happens a lot more often in digital than film)

No problem, glad some of it helped! I've done a ton of research for that area over the past year, plus I travel a lot for work & pleasure, so I'm glad all that effort helps others too.

A friend and I will be in the Zion/Bryce area around 10/15-10/16, so maybe we'll spot you. At 6'4" you should stand out.

BTW, emailed you again. I sent a PDF you may find useful. Just wanted to give you a head's up, it's not a virus or anything.

Yeah I have a 50mm and 70-300 and no problems and I have used a friends extinct and had the same problem.

anden said:

I have been lurking this board for some time but this thread had me register to reply.


The few reports I have found on the 50-150 OS indeed gives the impression of a premium grade lens. As much as I like the Canon brand and its lenses I already have, it looks like I have found the missing link I have been looking for in another brand. If Canon doesn't soon announce an EF-S 50-150 2.8 IS...

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Canon is not going to release one soon, probably never. So buy the Sigma and hope it works on future Canon models unlike some of the older ones that won't.

Dylan777 said:

tomscott said:

Why save the 5D MKIII, I dont understand? When it hits the max shutter life just have it serviced. My 40D hit 139,000 and was still going strong (although I know it is good for 150,000)

By the time you hit 150,000 there will probably be a 5D MKIV

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+1....unless you want to keep it as a collectable item.

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Don't know how much a shutter box replacement costs, but i'm guessing it's less than you'd lose by selling a 5dII to get a 7d then a 10-22mm EFS on top

I'd say FF body- makes all your lenses whole new beasts. that way you get in effect, 4 new lenses to explore!
it's not really that night and day, but you'll have a lot more fun with the wide angle on the 24 end of the 24-70L and the 70-200L suddenly becomes a lot more useable indoors

Just upgraded from Gold to Platinum. For those wondering, the "Platinum Member Gift" was the ThinkTank Artificial Intelligence 15 V2.0 (15" laptop bag) and the Cable Management 30, both with the Canon and CPS logos embroidered.

I'd rather lose a cheap 4/8GB card with a handful of pics then lose an expensive 16/32GB CF card with tons of pics on it (not everyone backs up cards the same way so it's bound to happen). So if you're a more casual shooter a handful of cheaper, lower capacity cards might make more sense.

Found the answer to my own question by calling CPS. I had the lock switch on the back of the camera inadvertantly in the "Locked" position. Oops.

it's crazy, but.... ) http://www.facebook.com/photo.php?fbid=10151010435060995&set=a.383999600994.168661.106593340994&type=1&theater

If money is not the problem, I don't see any motivation not to want the 1Dx.

Ryan708 said:

get a larger card and shoot raw all the time? haha didnt think about the WB being more touchy, but i suppose with all that extra color!

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I pretty much shoot raw all the time anyway, the 7d jpeg engine isn't too smart when it comes to low light

I am almost a beginner, and love both kinds [100mm Macro IS L vs 24-105 IS L & 70-200 F/4 IS L].


I must admit that sometimes I only carry the 100mm Macro as a walk around lense (with my 5D classic) even when a macro-photography sesssion is not planned, just because I like its colours, sharpness and bokeh.

Dylan777 said:

Razor2012 said:

Dylan777 said:

until then....shooting 5D III + 16-35 II is not so bad at all.

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A 14-24 would be great, but the 16-35 II will have to suffice for a while.

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;D ;D ;D....I'll bring 5D III + 16-35 II with me next coming trip to Hong Kong & China. Helllllloooooo chinese food

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Mmmmm, chinese food. 8)

Re: Canon U.S.A. Introduces Two Compact Lightweight Cinema Zoom Lenses For 4K and 2K Digital Cinema

Axilrod said:

chabotc said:

Wow now thats some serious lens action - 24k for a lens is a mind blowing amount when you're used to DSLR pricing

I do wonder, are they really _that_ much better?

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$24k is average for a cinema lens, heck the zooms they released earlier this year are both around $43k. A full set of Arri cinema primes is between $100,000-$180,000 depending on which set you get. These clearly aren't for consumers.

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Do u think they fall into cinema lenses, with their awful focal lengths???? and being more expensive is always a justification for pro-lenses. OK we got.