Posts

Rocky · Aug 2, 2019

If you are not doing sport , birding or chasing the kids, mirrorless will be good for you. Whether you want a R or M is is another personal choice. If you are concern about weight, the M is a better choice, due to the size of the weight of the R lenses ( they are better than the M lenses). I switched from 40D+ 20D to M+M2, and later M2+M50 . My major (95%) use for them is travelling. I have never look back. The strength of M is light weight, small size and reasonable priced lenses with good performance. you can have native lenses( mostly zoom lens) from 11 mm to 200 mm. that should be more than enough for most people as a travel camera. The 22 mm 2.0 EF-M is an excellent little lens.

ple · Aug 2, 2019

Wives not liking to have their photos taken reminds me of this video I saw once. Portrait photographer Sue Bruce "encourages you to exist in photographs for your children, for yourself, and for the people who love you."

canonmike · Aug 2, 2019

PGSanta said:
Yeah, I saw the promo code email from B&H, but i read it too late and it expired. They had the 24-105 at $799. I’d settle for $899 hah.

Just hang in there. You'll see it discounted again. Good luck

xps · Aug 2, 2019

AlanF said:
Interesting. I have been following the Sony Forums closely on the lens. There are several complaints that the lens is too heavy and a monopod is required, but that is clearly not your experience and opinions obviously vary. Playing around with Sony bodies in the store, I think I would find them too small, just as I find the 100-400mm on the M5 very difficult compared with the 7D/5D series. Some of the shots on the 200-600mm flickr group https://www.flickr.com/groups/14620456@N20/pool/with/48364766576/ seem very sharp. But, some of the images birds in flight that you can download, especially the swallows, are pretty grim. But, they might be because of bad technique. Some, like Alex Phan who is well known in the birding field, have returned the lens because the AF is not good enough for their extremes of BIF. Everyone has different requirements for AF, and if it's good enough for you, then that is great. Enjoy your Sony + lens!

Well, the lens is heavy, but sometimes I shoot with the 600L II handheld, too. So, this does not matter for me (by now). But it is well balanced and the plus is, that the tube does not extend - so the balance is stable
I will use the lens on longer walks, where the 5DIV/1DXII&600mmII combo is to large/heavy. Ad the quality of my shots is quite a little bit lower than the pro´s like Mr. Phan

. So the lower AF speed is ok. The pics on this website are really pleasing - I think I´ve to learn really a lot where to get such good shots (and birds)
But most times, I´m struggling witht he menu of the 7´s...

Still waiting for Canon´s answer....

ajfotofilmagem · Aug 2, 2019

justaCanonuser · Aug 2, 2019

Canon1966 said:
That's awesome!

Well, the motorwinder of the EOS 3 produces indeed an awesome loud noise, but otherwise it is one of the most advanced 35 mm film cameras I ever used. My vintage Canon 7 is technically the opposite, it is a bit like shooting a Leica M3 - a very puristic experience. I like that. Canon btw made in the late 1950s-1960s some beautiful lenses for its last rangefinder series. Oh yeah, Canon once was a ML camera maker for decades

canonical · Aug 2, 2019

don't believe for one second there will ever be phones with APS-C sensors, not even m43. physically simply too large, especially optical lens and cooling needs (for video)

i do look forward to Canon M5 mk. II at $ 899 beating Fuji X-T3 and M50 Mk II at $ 599.

both with same, greatly improved sensor and digic, even better AF system. M5 II with beefier grip and LP-E6N power pack for 400+ shots. M5 II with ultra-compact form factor and pop-up EVF (G5X II style).

only care for stills performance, video features totally irrelevant to me, I never record videos.

3kramd5 · Jul 31, 2019

Del Paso said:
By the way, "beta" in French means dumbnut...

Hah

Ozarker · Jul 31, 2019

Click said:
Nice portraits. I especially like the second one. Well done, CFB.

Thank you, Click.

Hernan · Jul 31, 2019

HarryFilm said:
---

I've got more info about that ... It's sooner than you think!

..

So what else do you want to know?
.

I‘ld like to see the camera in real life and this aint happening unless are you talking about IBC2019?

Joules · Jul 31, 2019

Aussie shooter said:
Oh. Definitely skeptical about the m62 specs but if they are even close i will be impressed .

I am optimistic about the sensor though.

We have heard numerous times now that the new APS-C cameras will shoot 4k without any additional crop. That alone points to Canon having made a big step in the right direction. And it could make those high Framerate claims somewhat realistic.

Also,why would talk about a new 24 MP sensor have come up at all? That only makes sense if the tech changed a good bit. Nobody but Canon refers to sensors as new if we've already seen ones with similar performance in previous models.

3kramd5 · Jul 30, 2019

Was DPAF ever the best AF on the market? I sense that many video users like it, but anecdotally most times I see people using cameras which have DPAF, they use the off-sensor unit. Maybe that’s because they like me prefer using a viewfinder to using the rear screen, but even in cases where great AF is a primary concern (e.g., sports) one sees traditional PDAF being used far more frequently.

koenkooi · Jul 30, 2019

Viggo said:
[..]
It’s big, but I would’ve thought it would be heavier. It feels lighter almost than the 50, probably because it looks quite a bit bigger.
[..]

After a few days my wife said "This is the 50, right?" while taking pictures when it was the 85. Even on the RP it doesn't feel that big or heavy, even if it looks cartoonish.

Canon Rumors · Jul 30, 2019

Lensbaby has brought their lenses over to the Canon RF mount, along with Nikon’s Z mount.

Composer Pro II
Sol 22mm
Sol 45mm
Velvet 56mm
Velvet 85mm
Trio 28mm

You can check out all of the RF Lensbaby lenses at our exclusive affiliate partner Adorama.

Stereodude · Jul 30, 2019

kirispupis said:
...
The advantages I see of the G7x3.
...
- Better perceived image quality. I haven't seen an improvement at all from the Rx100 IV to the VI, and it doesn't sound like the VII improved here either. Therefore, since the Canon has a brighter lens image quality should appear better, even though the sensor quality is the same. However, the Rx100 IV has a similar lens to the G7x3, so I expect the quality to look pretty similar.

How do you figure the Canon will have better image quality? The consensus I've seen pretty much everywhere is that the RX series have better lens quality and sharpness than the G7X II. The review on dpreview of the G7X II noted significant sample to sample variation.

dpreview said:
The lens is a big part of image quality and, as with all enthusiast compacts, there is a lot of variation camera-to-camera. Even if your camera has one of the best lenses in the batch, its performance may not be consistent throughout the focal range. One of our G7 X's had good corner sharpness but was soft at its telephoto end, while the second one was just the opposite. We've generally found this lens design, found in both the G7 X and G5 X as well, to be weak at the wider focal lengths relative to the RX100 cameras from Sony.

Natalie777 · Jul 30, 2019

Has anyone heard about Kodak Coin lately? Though I'm a follower of several cryptocurrency blogs, I haven't read about it for a long time. Frankly speaking, I wasn't sure it would become popular in the very beginning. Though I thought about Bitcoin the same way, but now it is the most popular and the most expensive cryptocurrency.

kawabata · Jul 30, 2019

Nor are Canons. But I am assuming that CR2 had a source or reason for that opinion. So just was interested in an update if they had one.

AlanF · Jul 29, 2019

Dismid said:
I wonder if someone who owns a Powershot G3X can check something for me.

I have accidently dropped my new pride and joy and I believe I have an issue, I sent it away to a Canon recognised repair company for assessment, I explained the issue and sent it off. They received it on the 07/10/15 and I got it back today 04/11/15 so a good few weeks, they were waiting for a service sheet because its a new model Camera. Workshop report Mentioned error could not be found.

OK the error:

When the Camera is switched off and the lens is closed, the lens wobbles inside the lens housing it seems unsecure when walking along all you can hear is constant rattling around. As soon as its powered up and the lens opens to its first position its perfect and works as normal no problem.

Would an owner of the Powershot G3X Camera check to see if this is normal and that the lens does rattle around?

I would imagine it's solid with no movement.

I really appreciate help. Many Thanks Lee

Note: I nipped to a Camera shop to look at a new one out of the box and it does the same. Its part of the IS System apparently (so what did I know) sorry everyone. Thank you

Is this a mail from 2015?

@clicstudio · Jul 28, 2019

Normalnorm said:
Maybe it works for manky RE pics for someone who can't spend more than 40 minutes in a property. But then why not use a phone? They have HDR.

Maybe that’s it – @clicstudio waa talking about the Sony sensor in his smartphone!

Michael Clark · Jul 28, 2019

neuroanatomist said:
SP is the standard aperture diaphragm. But consider – f/number is focal length divided by aperture diameter. So, a 200mm f/2.8 lens needs a max aperture of ~71mm (200/2.8). Zoom a 70-200mm lens to 70mm, that lens could be f/1.0 (although that's an oversimplification, and even so it would entail all sorts of other optical problems). Regardless, the intent is a constant zoom. A 70mm f/2.8 lens needs a 25mm diameter max aperture, and focal lengths between 200mm and 70mm need max apertures between 71mm and 25mm. The SSP aperture stop creates that effective max aperture to maintain a constant f/2.8 at all focal lengths.

F-number is focal length divided by entrance pupil (often mislabeled as the *effective aperture*), which is affected by magnification between the physical aperture diaphragm and the front of the lens. The SSP in Canon constant aperture zoom lenses only compensates for the slight difference in the ratio between changes in magnification and changes in entrance pupil diameter as the lens is zoomed in and out. There are also many variable aperture Canon EF lenses that us SSPs.

Including an SSP in a non-retrofocus lens, such as a 70-200mm f/2.8 lens for a 20mm registration distance, is new territory for Canon EOS lenses.

With 44mm registration distance EF lenses, all the zoom designs thus far that incorporate an SSP are also retrofocus designs, at least when zoomed at their widest focal lengths.

This is true of every lens with block diagrams included at the Canon Camera Museum site. Many very early EF lenses do not have block diagrams there, but most mid-grade and higher lenses introduced since about 1990 do.

Looking at the lists below, we can see some tendencies:

- Lenses with secondary apertures are "L" grade premium lenses or mid-to-upper tier consumer lenses. (The singular exception in terms of optics is listed next)

- The lower tier "kit" zoom lenses and other "entry level" zoom lenses produced during the same eras, even those that also use retrofocus designs, usually did not include a secondary aperture in their design. A pair of 28-80mm kit lenses from 1999, which share the same optical formula and only differ with regard to the type of focus motor each uses, are the only exceptions.

- Some lenses with secondary apertures are constant aperture while others are variable aperture lenses.

- All lenses with secondary apertures use retrofocus designs.

- The vast majority of retrofocus entry level lenses are not given a secondary aperture.

- There are no Canon EF zoom lenses of any grade which do not use a retrofocus design that include secondary apertures in their design.

In summary, the thing Canon lenses with secondary apertures have in common is they are retrofocus designs incorporated into zoom lenses well above entry level (with the noted exception of one lens design that was offered in USM/non-USM versions).

EF zoom lenses with an SSP shown in their block diagrams at The Canon Camera Museum:

- EF 28-70mm f/2.8L USM (November 1993) This is the oldest lens with a published block diagram at the Canon Camera Museum that includes a secondary aperture.
- EF 17-35mm f/2.8L USM (1996)
- EF 24-85mm f/3.5-4.5 USM (1996)
- EF 28-80mm f/3.5-5.6 II (1999)
- EF 28-80mm f/3.5-5.6 V USM (1999)
- EF 16-35mm f/2.8L USM (2001)
- EF 24-70mm f/2.8L USM (2002)
- EF 17-40mm f/4L USM (2003)
- EF-S 10-22mm f/3.5-4.5 USM (2004)
- EF 24-105mm f/4L IS USM (2005)
- EF-S 17-55mm f/2.8 IS USM (2006)
- EF 16-35mm f/2.8L II USM (2007)
- EF 8-15mm f/4L Fisheye USM (2011)
- EF 24-70mm f/2.8L II USM (2012)
- EF 24-70mm f/4L IS USM (2012)
- EF 16-35mm f/4L IS USM (2014)
- EF 24-105mm f/4L IS II USM (2016)
- EF 16-35mm f/2.8L III USM (2016) - shows *three* aperture positions in the block diagram

EF zoom lenses that do show the SP position but no SSP in their block diagrams at TCCM:

- EF 35-135mm f/4-5.6 USM (1990)
- EF 100-300mm f/4.5-5.6 USM (1990)
- EF 28-105mm f/3.5-4.5 USM (1992)
- EF 20-35mm f/3.5-45 USM (1993)
- EF 28-80mm f/3.5-5.6 II USM (1993)
- EF 35-80mm f/4-5.6 III (1995)
- EF 70-200mm f/2.8L USM (1995)
- EF 75-300mm f/4-5.6 IS USM (1995)
- EF 28-135mm f/3.5-5.6 IS USM (1998)
- EF 55-200mm f/4.5-5.6 USM (1998)
- EF 22-55mm f/4-5.6 USM (1998)
- EF 100-400mm f/45-5.6L IS USM (1998)
- EF 75-300mm f/4-5.6 III (1999)
- EF 75-300mm f/4-5.6 III USM (1999)
- EF 70-200mm f/4L USM (1999)
- EF 28-90mm f/4-5.6 (2000)
- EF 28-90mm f/4-5.6 USM (2000)
- EF 28-200mm f/3.5-5.6 (2000)
- EF 28-200mm f/3.5-5.6 USM (2000)
- EF 28-105mm f/3.5-4.5 II USM (2000)
- EF 70-200mm f/2.8L IS (2001)
- EF 28-105mm f/4-5.6 (2002)
- EF 28-105mm f/4-5.6 USM (2002)
- EF 28-90mm f/4-5.6 II USM (2002)
- EF 90-300mm f/4.5-5.6 USM (2002)
- EF 28-90mm f/4-5.6 II (2003)
- EF 55-200mm f/4.5-5.6 II USM (2003)
- EF 90-300mm f/4.5-5.6 (2003)
- EF 28-300mm f/3.5-5.6L IS USM (2004)
- EF 70-300mm f/4.5-5.6 DO IS USM (2004)
- EF-S 17-85mm f/4-5.6 IS USM (2004)
- EF-S 18-55mm f/3.5-5.6 (2004)
- EF-S 18-55mm f/3.5-5.6 USM (2004)
- EF 28-90mm f/4-5.6 III (2004)
- EF-S 18-55mm f/3.5-5.6 II (2005)
- EF-S 18-55mm f/3.5-5.6 II USM (2005)
- EF 70-300mm f/4-5.6 IS USM (2005)
- EF 70-200mm f/4L IS USM (2006)
- EF-S 18-55mm f/3.5-5.6 IS (2007)
- EF-S 55-250mm f/4-5.6 IS (2007)
- EF-S 18-200mm f/3.5-5.6 IS (2008)
- EF-S 15-85mm f/3.5-5.6 IS USM (2009)
- EF-S 18-135mm f/3.5-5.6 IS (2009)
- EF 70-200mm f/2.8L IS II USM (2010)
- EF 70-300mm f/4-5.6L IS USM (2010)
- EF-S 18-55mm f/3.5-5.6 III (2011)
- EF-S 18-55mm f/3.5-5.6 IS II (2011)
- EF-S 55-250mm f/4-5.6 IS II (2011)
- EF 200-400mm f/4L IS USM Extender 1.4x (2013)
- EF-S 55-250mm f/4-5.6 IS STM (2013)
- EF 24-105mm f/3.5-5.6 IS STM (2014)
- EF 100-400mm f/4.5-5.6L IS II USM (2014)
- EF 70-300mm f/4-5.6 IS II USM (2016)

EF lenses with block diagrams at TCCM that show no aperture positions:

- EF 35-350mm f/3.5-5.6 L USM (1993)
- EF-S 18-135mm f/3.5-5.6 IS STM (2012)
- EF-S 18-55mm f/3.5-5.6 IS STM (2013)
- EF-S 10-18mm f/4.5-5.6 IS STM (2014)
- EF 11-24mm f/4L USM (2015)
- EF-S 18-135mm f/3.5-5.6 IS USM (2016)

Every lens that includes a block diagram but does not show aperture position(s) is a retrofocus design.

I find the exclusion of aperture position(s) for the 11-24mm f/4's block diagram particularly curious. Other than the 1993 35-350mm, all the rest are relatively new EF-S variable aperture lenses.

Jul 28, 2019

Tom W said:
DPP is just a couple of features short of keeping me from needing other software like Lightroom to process photos. I'd gladly pay a little extra for those features in DPP as opposed to renting from Adobe.

I know...the biggest item for me would be regional exposure adjustment. There is now already regional brightness/contrast/hue/saturation in DPP, now I'd like to be able to adjust actual exposure without affecting the entire picture (like in Lightroom).