Posts

Kumakun · Mar 7, 2013

I live in Japan and bought my Canon 7D and 5DIII over here. Both come with multilingual menus (Japanese, English, and a whole host of other languages). Nikon, Pentax, Olympus--even Casio cameras you buy over here have multi-lingual menus.

Sony and Panasonic do limit their menus. The Japanese market version features only a Japanese menu. I had to buy an "overseas model" RX100 to get an English menu, at a premium (about $70-80 more than the Japanese version). I had been considering a NEX mirrorless system at one point, but for me the menu-gimp has made the Sony MUCH less attractive.

As for the OP--I haven't noticed any differences between my 7D and any of the American market 7Ds I have seen.

expatinasia · Mar 7, 2013

dolina said:
GM5561T if you want the most compact and light weight monopod that has the highest load capacity.

Thanks. I already have a monopod that can hold up to 15kgs so won't be buying a new one.

This was more about the lens choice for renting, and I am glad I asked as I had a feeling I should have gone for the 400 2.8 II which is what most here have confirmed.

Dantana · Mar 7, 2013

Maybe you should rent the 70-200 2.8 IS II for a weekend and see how much of a difference it makes for you.

sagittariansrock · Mar 7, 2013

hgraf said:
Hello all,

I'm a "serious" amateur with not much money.

I'm starting to branch out into some easy working gigs (family portraits, pet photos, baby photos), nothing too pro, mostly just a taste to see if it's something I want to dive into more seriously (I THINK I'd really love to do wedding photography, but that's a little beyond my skill at the moment).

I have a 650D/T4i, a VAST upgrade to the 1000D/XS I shot for years with. Since it basically has the same sensor as the 7D it takes what I consider to be very nice pictures.

I long ago upgraded from the kit 18-55mm to the 18-135mm. I found the difference dramatic. My T4i came with the kit 18-135mm STM lens, which is rated even better then the original 18-135mm IS, but frankly image quality wise I don't see a vast difference (it is shaper at wider apertures, but not by a huge amount).

That said, the 18-135mm STM is still a kit lens, and while it is an amazing single lens solution for travel, I do wonder if it's "good enough" for outdoors portait type shoots, especially if people starting paying me money.

So, with all that said, I've looked into things and ALOT of people recommend that a good "next step" is the EF-S 17-85mm f/4-5.6. It's not L glass obviously, but it is supposedly quite an upgrade from kit glass.

Would I notice much of a difference? I know there are other a couple other common options, but they are all quite a bit more expensive:

EF-S 15-85 f/3.5-5.6
EF-S 17-55 f/2.8

The 15-85mm is about $200 more then the 17-85.
The 17-55mm is WAY more, obvious since it's much faster, constant aperture. Alot of people say that lens is a L without the L designation.

According to DXOMARK there isn't much difference between my 18-135 and the 17-85 or 15-85. But alot of people say that DXOMARK isn't very close to real life. The 17-55 DOES score much better, but it's out of my price range, plus I don't like being limited to 55mm on the long end.

So, any advice? Is the 17-85 worth the upgrade? Should I stick with my 18-135 and save up for better glass?

Thanks for any advice!

I was in a similar position a year ago. I had the 28-135 and felt the need for a 15/17-XX lens. I bought the 17-85 but in a few months decided to upgrade.
My main reason for upgrading wasn't so much image quality as it was low-light performance. So I ended up buying the 17-55 after trying both the 15-85 and the 17-55.

In your situation, I give the following suggestion based on my (humble) experience:

The 15-85 is better at the wider end, with much less distortion (at 15mm, compared to the other one at 17mm) and is quite sharp wide open. I believe the image stabilizer is also a generation newer, and the build is much nicer. However, the IQ of the 17-85 is quite acceptable, especially if you stop it down 1 stop. In fact, I think some of the criticism of the 17-85 is unjustified- I quite liked the lens and my copy was actually comparable to the 15-85 wide open (although I hear there is some sample variation there). However, the price of the 15-85 is more than double (used)- so if it is a question of buying a 17-85 now or waiting for 15-85, I'd go with the former. In fact, you can use the extra cash to get an 85/1.8 or a 50/1.4 (depending on your preferred focal length for portraits) and that'd be better for outdoor portraits anyway.

If you do upgrade later, then I'd pass on the 15-85 and go for the 17-55. Of course, you mention the shorter range is an issue for you- I admit it irritates me as well- I'd have preferred it to be 85mm, but what can one do about it! The f/2.8 IS clinches it for me.

emag · Mar 7, 2013

70D is expected later this month (March). I expect it to be a worthwhile upgrade from 40D or Rebel series, but maybe less so from 60D - the logical step up from there is the 6D, much cheaper than I expect the 7DII to debut at. AFMA and WiFi would be welcome, as would a body-only price in the 1k range. Neither the 60D nor the 40D will suddenly start taking crappy photos when the 70D is released. I think Canon may be making great strides in crop sensor performance but wouldn't expect to see the best there is in the 70D, that will go into what I expect to be a shockingly high priced 7DII. Just my $.02

RLPhoto · Mar 7, 2013

I like the g15 as it is already. I use mine from ISO100-400 push to 800 if needed but what I'm really using it for is its ridiculous 1/2000th flash sync speed.

simonbratt99 · Mar 7, 2013

Thanks Dr Brain.

Mar 7, 2013

I suppose I'd wait two weeks, just to see what the feature set of a 70D (if that's what's announced) looks like.

But as for, 'everyone is not really happy with 7D', sorry but that doesn't make sense. Well, it does in the sense that not everyone is ever happy with any particular product. People like to complain. But for bird photography, the 7D is one of the best cameras available, and it's the best camera in it's price range. AFAIK, the only better options for shooting birds are a 1D-series body or a 5DIII, and in both cases you'd ideally want to pair such a body with a lens longer than 400mm.

I've got a set of bird shots on my Flickr stream, and while a few of the recent ones are shot with a 1D X and 600/4L IS II, most of the images are from a 7D + 100-400L. For $2700, that's an excellent value and a kit that's ideal for bird photography.

Mar 7, 2013

woollybear said:
Do I understand you correctly...zooms...short end tested at 25x and 50x, long end tested at 25x and 50x, and intermediates tested at 25x and 50x...

So a 70-200 would involve 6-10 tests with distances ranging from 1.75m to 10m?

And the results (5diii) would be an average (mean or median?) for the low end and an average for the high end?

And if you'll indulge me one more question...you run a complete, separate series of tests when using a TC?

Correct. The number of intermediate focal lengths I test depends on the zoom range, e.g. for a 2-3x zoom like the 16-35mm or 70-200mm, I test just one intermediate focal length; for a ~4x zoom like the 24-105mm or 100-400mm, I test two, etc. So for the 70-200, that's a total of 6 tests - 70mm, 135mm, and 200mm each at 25x and 50x the focal length.

The newer AFMA bodies (including the 5DIII) can store separate values for the wide and tele ends of zoom lenses. I use the two distances and the intermediate focal lengths to help guide the choice - the values I enter are a compromise between the distance(s) at which I usually shoot with that lens, the effect of focal length on DoF, etc. For example, with my 100-400L at 50x focal length, the FoCal-reported AFMAs at 100,200,300,400mm were 0,0,0,1 and at 25x focal length they were -3,0,-1,2. The values I selected were W=-1 and T=1.

The camera does a simple linear regression between the W and T values to apply AFMA at intermediate focal lengths.

Yes, with a teleconverter I do a complete separate set of measurements (6 for the 70-200/2.8 with the 1.4x and 6 more with the 2x).

FunPhotons · Mar 7, 2013

Oh yes, for me. Photogs love to repeat "it's not the camera" but one reason I love photography is because of the equipment.

I'm a computer engineer by day, so when I need a break taking a mini-computer out into the world is an extension of that
I love the challenge of having just the right kit for a shooting situation
I enjoy using it, holding it, taking care of it all

There's nothing wrong with that at all, I also enjoy getting great shots (not enough of those)! I'm tired of some photographer who is proud of his beat up, scratched and dented camera, like it proves he works hard. That just proves he doesn't know how to take care of the equipment for his professional livelihood.

xhermitdashx · Mar 7, 2013

I believe the best combo for you is actually the tamron 24-70 vc with 6d/5d (depending on your budget)
reason for the tamron: GREAT vc, works extremely well
Rather smooth focus rings, obviously not as smooth as canon's offer, but i think its enough.
of course, f/2.8
CHEAP PRICE! nearly half of canons 24-70 ii

Menace · Mar 7, 2013

Dylan777 said:
If budget is not an issue, why not get THE BEST ZOOM lens on the market(24-70 f2.8 II). Especially, FF upgrade in the future.

24-105 F4 is too slow for crop, not a great lens for indoor. sharpness is

Agreed. If you can afford it and it's wide enough at 24mm for you then do get it. Ofcourse in the future when you go FF you'll already have a great standard zoom.

Cheers

CarlTN · Mar 7, 2013

pgsdeepak said:
I did not try the 70-300mmL yet, but after reading all the reviews, I am kind of convinced, I should go for it!!!!

Glad to see someone actually winding up following the advice I gave! Unfortunately, I am not following my own. I decided to try a Sigma 120-400. It's 40 to 60% cheaper than either of the Canon L zooms, and I need to conserve money (unlike some people on here...hey I'm envious of ya!). I'm enjoying it on my Benro carbon fiber monopod.

RGF · Mar 7, 2013

alexturton said:
Hi all.

I have the canon 50mm 1.4 an the canon 85mm 1.8 using on my 5d3.

I'm constantly on a quest for shallower dof. I do a lot of street photography.

My hesitations on upgrading to the L lenses are (other than cost):

Will I actually see a noticeable difference in dof?
The 50mmL has a pronounced focus shift narrower than f2.
The 85mm 1.2. is slower af than the 1.8

My question is will I see much difference between 1.4 and 1.2 @ 50mm and 1.8 and 1.2 at 85mm?
Also, does anyone know if the sigma 85 is any good? And similarly is it worth going from 85mm 1.8 to 85mm 1.4?

another way to shallow DOF is to have a very long lens - not exactly true since DOF for the same magnification is the same, regardless of the focal length.

Or you could go high magnification, e.g., macro.

wickidwombat · Mar 6, 2013

love the shoe shop one, the fact the vendor isnt wearing any makes the image

nice work

Mar 6, 2013

So why don't you show everyone examples of great street photography taken with a Canon camera and a 85 - 135 lens?

I can show you examples countless, famous street photographers, from the 1950s to now that have used that elitist Leica stuff and 21 - 50mm focal lengths...

Don't take my word for it though, try Google

ET

Drizzt321 · Mar 6, 2013

If you want to get a quick idea of what the final print might look like, get a decent photo printer. I have the Pixma Pro 9000 II that I got for a deal from B&W when I got my 5d3. Works great, can even pretty some moderately large prints, and ink lasts a good bit and isn't quite an arm and a leg. Then send off the images you want to someplace like Bay Photo. Or if you're in a major metro area like LA or NY, there's a couple of good places still around (speaking for LA here), although I haven't tried them yet. I really should.

Tusker · Mar 6, 2013

Thanks for your ideas, I went back and worked on some of your thoughts.

My other flashes work okay so that means it must be in the flashes foot.

Here is what I discovered if the flash leans forward it does not work but if it leans back it does, the weight of the flash is what keeps it from working. I wasn't able to pop the top off as I couldn't see how. But by pulling gently back on the flash it would work.

I also found that if it clamps shut, locking it will not work, but if the leaver is put almost all the way closed to hold it in but not locked it seems to work even when angled down. So if I don't lock the flash in it works fine and it seems to be held on good enough so it is more usable this way.

Thanks a lot for your thoughts and input on this matter you were a great help.

Cheers,

Vivid Color · Mar 6, 2013

This issue sounds like it is tailor made for a fun experiment. I've taken a good number of pictures at concerts before with generally poor results. I had always used a P&S, which only had autofocus capability, and I had always assumed the poor results were due to the lens. I don't have a 50mm f1.8, but I do have a 40mm f2.8 with its own ridiculously small focusing ring. Next time I go to a concert in which I can bring in a camera, I'll put the pancake on my DSLR and try both auto and manual focusing and see what happens and post results. That said, I have no concerts scheduled on my near-term calendar so perhaps others can try this experiment and report back. Posted images of the same scene shot on manual and auto-focus would be fun to see too.

mirekti · Mar 6, 2013

Hm, not sure how I would do that. I mean, each photo is different. Could you give me some hints, please?
Would a UV filter help in this situations? UV is advertised as a filter that removes blue cast.

skitron · Mar 6, 2013

Marsu42 said:
Mt Spokane Photography said:

I might also consider magic lantern and focus peaking once the software gets out of the early testing stage.

Click to expand...

Um, my usual comment: On other than the 2012 cameras ml is stable and proven for years - though on 6d and the op's 5d3 you have indeed to wait for the official release.

I've used the current ML beta for 5D3 and it works pretty good for focus peaking. The downside is it's impossible to see it when shooting in daylight.

I've also used AF confirm chips for this. The only problem is if using an adapter, you need a chip that has programmable AFMA in it because the thickness of the adapter is greater than the AFMA span in the camera. Unfortunately I haven't found a AFMA programmable chip that works with 5D3. I've found some that work great with 5D2, 50D, etc., but not 5D3. The non-AFMA-programmable chips seem to work with 5D3 but that rules out using an adapter.

xps · Mar 6, 2013

Review of the Canon EF 24-70mm f/2.8L II USM lens review

http://www.dpreview.com/news/2013/03/06/just-posted-canon-ef-24-70mm-f2-8l-ii-usm-lens-review

RS2021 · Mar 6, 2013

glongstaff said:
Fleetie said:

glongstaff said:

at least its got a lens hood as part of the package, a lot that canon could learn from on many lenses possibly

Click to expand...

As far as I am aware, all "L" lenses come with a hood (if one can be used with the lens, anyway) and a pouch or other container. (The 70-200mm f/2.8 L IS II comes with a very nice zip-up white semi-stiff-fabric carrying container.)

Also, some time ago on here, it emerged that in some markets (far-east, IIRC) at least some of the non-L lenses come with hoods, but not here in the UK.

Click to expand...

Its the Non L Series lenses I was meaning mainly......but I'm sure I cam across an article not so long ago on a site selling on eof the L Series lenses where the hood was extra

I fell for a fly by night grey market offer a while back...my 70-200 f/4 L came without hood...also I wasn't quick enough to follow up, so clearly my own fault. But got a good price and the lens was tack sharp...so no regrets. But I am told all major legitimate dealers include the hood on all L's here in the US regardless of US warranty or grey market.

Mt Spokane Photography · Mar 6, 2013

privatebydesign said:
Thanks Roger, and welcome to the forum, I knew I had seen that picture in the blog but couldn't remember, or find, which post it was in. I am glad my memory hasn't failed me completely

And thanks for mentioning it. I try to read all of Rogers posts, but certainly missed that one.

East Wind Photography · Mar 6, 2013

This is what I use...but sparingly and as I mentioned I use a Q-tip and then a dry one to wipe off any excess. You are not soaking the contact just cleaning the surface. This is what is used in the aircraft industry for contact reliability.

http://store.caig.com/s.nl/sc.2/category.299/.f

I have purchased used lenses in the past for cheap. Supposedly had AF problems. The contacts were cleaned with this stuff and the AF issues went away. I've since sold the lenses for more than I paid. Granted the contacts were in very bad shape but this stuff cleaned them completely. For most you are better off not touching the contacts at all but there are times when a cleaning is necessary, especially if you notice AF issues or getting strange error messages on your camera.

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