Yeah. That would be killer. The 28-70 is just so good I'd really want it again.

Bigjezza said:

I’ve experienced this error once in the 2 weeks I’ve had the camera - it was with the control ring adapter and I think I had the 24-70 2.8 II on at the time. I’m not sure if it’s the same issue, but I did experience Err 70

Click to expand...

Interesting, I havent seen Err 70 before on Canon Cameras usually I used to get Err 01 when I had jammed aperture blades(humidity during monsoons in rainforest caused the issue).

Yari said:

Hi everyone,
I've been thinking up and down if I should get a C70 in late 2022 or if it's wise to wait for the announced EOS line updates in 2023.
What do you think - is an update to the C70 likly to come? Haven't found any informations about that yet.
Thanks!

Click to expand...

The c70 won’t be updated to a mk 2 for a good while, but they will come out with more RF Mount cinema cameras above and below it. The c200 MK 2 certainly will be RF or have an RF option and be above the c70 in the roster. More boxy. Really depends on what your budget will be… What price point are you looking at?

Also, they are giving the c70 its third major firmware update soon, which is a bit uncommon for canon to add so many new features to one product after it has been out a while unless they were certain they are keeping it in the line up a long time. It’s also rather profitable for them right now, and saves them a lot of trouble with the production back log to not have to change an assembly line over right now. Cinema cameras are updated on slower cycles anyway. They just last forever if you treat them nice.

I’m imagine there will be a full frame option in a c70 body style at some point in the near future. Probably $600 to a thousand dollars more for it. But hard to tell when that might be.

If you can use one now, get one now. If you have other options then maybe wait… See if you can borrow one and play around with it. The raw lt is rather nice.

Holy Trinity is subjective. I shoot sports so my holy trinity is the 24-70 f2.8 L II, 70-200 f2.,8L III and the 400 f2.8L III.

Chaitanya said:

Irrespective of its short comings that is a good lens for wide angle macro work(flowers and herps).

Click to expand...

I am keen to try it on wildflowers next season. It should be interesting.

Shooting macro with the 24/1.8 is a way different experience than shooting macro with a short telephoto lens (e.g. 100 mm). There is a learning curve with the 24/1.8, and you can throw what you know about "normal" macro out the window.

For one, the wide angle of view allows you to connect the foreground to the background. The wildflower isn't just a wildflower in a meadow full of wildflowers (as would be the case with a normal macro shot showing the flower with defocused flowers in the background); rather, it becomes a flower in a meadow in the mountains. The flower is focused, the meadow is transitional bokeh, and the mountains are blurred yet recognizable.

The above only produces interesting results if the far background and its connection to the foreground have meaning. Maybe the mountain in the background is important to the story, but maybe it isn't. The same goes for portraiture: a short telephoto allows you to take a headshot and blur and unrelated or uninteresting or distracting background. But use a wideangle lens and we now have "environmental portraiture" where the background has meaning. So, think of the RF 24/1.8 as "environmental macro". Dustin Abbott is a master at these sort of photos, and his shots are excellent examples of this genre.

Then there is the short working distance. You will have to crawl on your belly and get close to things. Small changes in camera position will result in vastly different compositions, as is the case with regular wideangle photography. And you will need to come to grips with fstops needed for various working distances. All of this adds up to a learning curve. Which is a good thing.

Canon has released a minor firmware update for the Canon EOS R10. Firmware Version 1.2.0 incorporates the following fixes and enhancements: Download Canon EOS R10 v1.2.0 Now

See full article...

Deleted member 393411 said:

Well, duh. Canon seems to have a severe averse reaction to BSI and stacked sensors. I mean, Sony can offer a BSI sensor in the A7 IV for ~ AUF $1400 cheaper than the R6/R6 II. Why can't Canon do this?

Oh, look, another personal attack.

Click to expand...

Lol. We’re discussing readout speeds needed to use flash with electronic shutter and you bring BSI into the discussion, a feature that has no effect on readout speed.

Well, thanks for confirming my point about your lack of technical knowledge before you stormed off in a puerile huff.

dennirussel said:

True re the dSLR sales, but still... They should release an adapter, as with the EF-R. You've got the R3, so you're ok, but a whole heck of a lot of us have picked up an R5 in the not too distant past. Right now, anyone without a flash is officially out of luck! No flashes available besides the used market (or left over stock).

Click to expand...

Sorry, I really don’t understand your point. The EL-1 is available. The EL-100 is available. Both mount ‘natively’ on the R5, R6, etc. The 430EX III-RT appears to be still available, as well. Not to mention several 3rd party flashes, including some good brands like Profoto and Godox that mount on-camera.

There are no currently available Canon flashes, or 3rd party flashes AFAIK, that don’t mount natively on the R5 or any camera with the old-style hotshoe. Of course, those flashes also mount directly and function normally (as far as electronics go) on the R3 / R6II / R7 / R10 with the new multifunction shoe.

The only available native flash-like product for the new multifunction shoe is the ST-E10 master (and the ST-E3-RT it replaces appears to still be available). The recently-announced EL-5 is the first flash that requires the multifunction shoe, i.e., is not compatible with the cameras having the old-style hotshoe, and that flash won’t even ship until the end of March 2023.

Until then, if I want a weather-sealed connection between my R3 and a sealed flash like the EL-1 or one of my 600EX’s, I must use the AD-E1 adapter.

If you want a new 600-EX II-RT and only a new 600-EX II-RT then yes, you’re officially out of luck. But to claim there are ‘no flashes available’ for a camera like the R5 is simply false.

Hopefully Canon will do a more substantial update later that will add new subject tracking modes like on the R6 Mark II.

If you setup a custom button for flash settings, you can control the Godox flash’s power from the camera body.

Tony-UK said:

Thanks Alan, that would be greatly appreciated. We are also going to Antarctica end of January, that will be another test for the R5!

Click to expand...

I like keeping it simple with my most used settings stored in the modes C1, C2 and C3. It's a bit cumbersome using the mode setting directly, so I assign the M-fn button to toggle through C1, C2, C3, and it will toggle through a 4th, usually the settings in Fv for me. I use back button focus and set the AF-on button to eyeAF and full frame tracking with automatic point selection - great for BIF and searching for eyes on perched ones. Just point the camera in the general direction of the flying bird and the AF will latch on to it immediately. The * button is assigned to centre point AF for when the subject has too many distractions around it and eyeAF won't work or I want a particular spot. C1 is for general purpose telephoto shots in Av mode. I use iso 1000 as standard to give faster shutter speeds, set on auto, and EFCS in one of the higher speeds modes. The R5 eats noise when using DxO PL5 or 6, or using Topaz Denoise, and 1000 iso is fine for nature shots. C2 is for BIF in Tv mode with 1/3200s shutter, wide open aperture, electronic shutter and auto iso. C3 is for other settings. There are some quirks in the menus like for some of the custom assignments of buttons you have to check a box on the left of the screen as well as choosing the function.

Nice site. A lot of work went into this. Somewhat complete listings of various gain stages. Curious as it seems like a logarithmic amplifier instead of dual or triple stages might be a design niche, I wonder if any mfg has thought of using that. In another business in high freq imaging and data acquisition I was in, years ago we had a signal to noise dynamic range problem similar to what is illustrated in cameras. So the solution was a Log amp that modified our micro volt signal so it didn't follow these typical linear charts, but compressed it. This might be a solution to lower light imaging, to a point as dark noise always exists if no light at all. Basically say a flattened response say 100-6400 iso. I noticed one camera on a video that had 3 bumps..

I saw this S/N ratio ISO video who showed the various performance curves.

Tony-UK said:

How did I miss that, should have read the manual. Thanks.

Click to expand...

I usually don't read the manual first. So don't worry about asking as there is always someone who is pleased to help.

Thread locked for technical reasons.

josephandrews222 said:

Interesting read with interesting (and obvious) deductions about Canon's logic for locking down the RF mount (as far as lenses are concerned).

RED Uses the RF Mount, So Why Won't Canon License it for Lenses?

Canon cares about selling lenses above all else.

petapixel.com

I presume RED is the only company (other than Canon) building cameras with the RF mount...

Click to expand...

Red has been making RF mount cameras for quite sometime now.

Interesting, somehow missed this announcement. Its good to see decently priced 512GB UHS-II SD cards.

RED Cameras licensed to use the RF mount by Canon as noted in this article, should support RF lens sales.

"Canon wants to sell lenses above all else, so much so that it will let another camera maker — one that it arguably competes with in the cinema space — use its mirrorless lens mount. Since Canon is the only manufacturer that can support RF, any sale of a RED camera means the sale of Canon lenses. That means more money. Seeing Canon block others from making lenses for RF while at the same time licensing it for use by a camera manufacturer only further drives home this strategy." : petapixel

Cyborx said:

You can assign a button to do eye AF when in spot AF temporarely, but switching is not possible. It stays in spot AF mode.

Click to expand...

i can hit a button for eye af or another for spot af and go back and forth just fine on my R5.

fresh_melbourne said:

These supply chain issues drive me crazy. I have a lens hood from Canon on order for 5 months now (lucky nothing really important). It's sad that the world changed - we all got used to everything available instantly.

Andreas - freshphotography.com.au

Click to expand...

I still have the hood for the 15-30 on order, JJC came to the rescue by beating Canon to market
I should cancel the order, I had forgotten about it during the vacation where I needed the hood.
Give JJC a try for hoods, I have been quite happy with the ones I have.

As the hardware is almost the same it wold be a shame yet Canon is notorious for it's cripple hammer

koenkooi said:

Have a look at the loudness war wikipedia to see why album quality took a nosedive in the 90s.

Click to expand...

but that would apply to both digital and vinyl. Where digital and vinyl used separate masters, there's also equal chance the digital would have the better master. You're only making an argument for what kind of mastering goal is superior, which has FA to do with the storage medium. Of course I know what you're talking about. I recall Rush made a clean break with the loudness wars after a fan showed how their albums were having less and less dynamic range with passing time.

3/4 of the example photos are genuinely exciting. A MILFF needs 35mm f/14 to have this bokeh (25mm entrance pupil) but I don\'t remember ever getting so much bokeh with my EF 35mm f/1.4 Mk I or Leica M 35mm f/1.4 ASPH.

I' ve been using mine very often, mostly with rather heavy lenses, like the EF 100-400 and lately with the EF 180 macro.
No issues at all, the adapters are sturdy and rigid.
Just get one and forget about it !

Frodo said:

Hi Felix
Here three images from the same raw file.
The second is the file processed to taste in Lightroom. 1/60 @ f/8, ISO 1000 on an R. Normally I'd add just a touch of vignette, but left this off for the comparison
The first is the same file with the lens profile turned off. Settings identical to the second image - notice how much extra exposure the Lightroom profile gives most of the image. Note the dark corners and the curved horizon.
The third photo is converted to a tiff in DPP, imported into Lightroom with the same settings (apart from profile) as in the second photo. I placed these together to simplify a comparison.
Note that the LR image is significantly wider than the DPP file and yet corner image quality is quite good.
I have started some comparisons of LR vs DPP with some astrophotography images (BTW I shoot at f/4 as the reduction in coma is worth the slight loss in light gathering - probably less than a stop). Those photos are typically at ISO 3200, where DPP has aggressive noise reduction, noticeably softening the images. I could play around with NR in DPP, but I can't be bothered as I am used to my workflow in LR/PS.
Another BTW, the IQ of the RF 16mm @f/4 is not far off my Samyang 14mm f/2.8.View attachment 202214View attachment 202215View attachment 202216

Click to expand...

Ahhhh good old kapiti Island

Ronkonkoma, NY – November 14, 2022 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the SIGMA 18-50mm F2.8 DC DN | Contemporary for FUJIFILM X Mountmirrorless cameras. This addition allows users to enjoy a high-performance, high-quality, compact standard zoom lens in native mount on

See full article...