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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).

ajfotofilmagem · Jul 27, 2019

navastronia · Jul 26, 2019

People purely excited about something, doing detective work? this is the best thread that's ever happened on this forum

RGB49 · Jul 26, 2019

Click said:
Nice shots, RGB49.

Thanks Click

unfocused · Jul 26, 2019

ethanz said:
View attachment 185804

Ha! One of these days I might actually keep the printer...nah! Not bloody likely.

Pape · Jul 25, 2019

uri.raz said:
Because everybody and their sister will be buying 100MP crop sensors, *and* will want to squeeze every last pixel out of it. Yeah, sure.

1. It shoots nearly 10fps, sufficient for a large enough number of photographers.

2. There are photographers shooting with a Hasselblad H6D-400c, which has higher resolution.

3. I don't see any reason Canon couldn't scale the sensor to 80MP APS-C.

4. Canon uploaded photos and video taken with this sensor, DR looks good.

So at this point it sounds like you're throwing excuses, hoping one of them would stick.

OK we see 120mpixel RS on spring then

, they really need it .
Canon isnt competing with sony, Canon is competing with samsung and apple.
If performance cap is big enough between phones and RS some peoples may come back as camera users.
Now most of peoples wont see difference on mobile phone pic and full frame pic. but with police serie magniifying effect 120mpix gives ,many may want real camera.

Kit. · Jul 25, 2019

Tugela said:
Well, the a9 has been out for a while, and is also due to be replaced soon, lol. Maybe Canon will catch up to the a9, while the a9II makes new frontiers.

What do you mean by "catch up"?

Quirkz · Jul 24, 2019

koenkooi said:
Bluetooth audio is one of the harder things to get right, but it is a purely software matter. My former coworkers are happy with the billable hours it generates in the automotive world

The big issue with speakers is that the decent quality codecs have a lot of latency on both ends, so AV sync is hard. The hands free protocol is better (duh, that's what it's for), but has a noticably worse quality.

Not just that, but the better codecs require licensing, adding $$. Which is why many cheap Bluetooth headsets sound like crap

cayenne · Jul 24, 2019

Anyone at all?

Don Haines · Jul 24, 2019

SwissFrank said:
Even with spares and service, you're not going to have a chance to get a spare during most events.

I don't think reliability is a huge issue, that said: even an EOS R, definitely not a pro-grade camera, isn't going to just stop working half-way through the 50m dash or what have you.

What I meant is that in an event like the olympics, the photographers have several spares with them, and if one did fail, they can have it replaced by the next day. It’s not like they are on Safari or in Antarctica

Kit. · Jul 23, 2019

while the most popular full-frame mirrorless cameras are the Canon EOS R followed by the Sony A7R II.

As well as DSLRs and mirrorless cameras, ultra zooms/bridge cameras are popular with the Panasonic Lumix FZ1000 featuring as the go-to camera of this type for ePHOTOzine members.

Valvebounce · Jul 22, 2019

Hi Kit Lens Jockey.
My guess is that Mike was thinking along the lines of a normal DSLR where light coming in to the viewfinder from the eye side would mess with the metering sensor? Another piece of tech eliminated on mirrorless? Or maybe now it is about stopping the light from the evf Fromm spilling out and ruining his night vision acclimatisation?

Cheers, Graham.

Kit Lens Jockey said:
What exactly would you be blocking light from reaching by blocking off the viewfinder of a mirrorless camera? It's not like there's any passage way between the viewfinder and the sensor as there is in a DSLR. I would think that even if there were some tiny cracks between the viewfinder housing and the chamber that contains the sensor, you would pretty much need direct sunlight going right into the viewfinder to be able to maybe get any light leakage from the viewfinder into the sensor. The tiny amount of ambient light when doing astrophotography at night would almost definitely not be enough to get through the viewfinder and wind up reaching the sensor somehow.

stevelee · Jul 22, 2019

That is certainly a useful focal range. I travel with a G7X II, which has equivalent view of 24 to 100mm, so almost the same. I very rarely wish I had other lens choices except in very tight places where 24mm is not wide enough. That shouldn’t be a problem hiking; though I do occasionally see a vista that could us a wider angle, as one might on a hike. In both cases I take shots to be stitched later. Obviously it is not the lens for stalking wild game or bif.

JPAZ · Jul 22, 2019

suburbia said:
I also found the AF point ending up in some bottom corner each time I went to take a photo after perhaps being activated accidentally in the bag/swinging on the shoulder incredibly frustrating. Those two big things made me doubt my decision to move from SLR format. Maybe getting used to turning off the camera each time like you suggested is the way to go, but for me that is yet another negative.

FWIW, I have the RP on "ECO" mode. I leave it off but have not had an issue with switching on while raising to my eye (I practiced this to get it seem like an automatic maneuver). I've got the "trash can" button set up to re-center the focus point and have the right side of the screen set up for moving the point with my thumb. Having the camera off while hanging on the strap makes a big improvement in battery life. I think, when it is on and hanging, the camera is constantly changing from the rear screen to the EVF and that eats up the batteries. I also use back button focus. Unless I am doing a lot of looking and composing while running the IS, I usually get 250 - 300 shots per battery.

jd7 · Jul 21, 2019

Viggo said:
«Smaller lighter and cheaper” the 1.2’s are just barely though

True!!

Although in my case, I doubt I will ever own one of the RF 1.2 primes either. I am happy with something a little smaller, lighter and cheaper than those 1.2 primes.

glness · Jul 21, 2019

I own the Canon 600mm f/4L II and marvel at it. I really like some of the improvements to this lens with version III—the biggest being the considerable drop in weight. However, I find the loss of image sharpness compared to my version II 600mm a deal-breaker. It looks like more than a "slight" decrease to me. As Bryan mentioned, this loss of sharpness is more pronounced with extenders added, and I use a 1.4x III extender often enough that this is even more concerning. The excellent and useful image comparison tool on Bryan's website confirms this fact. I am sure for many photographers, the saving in weight and improved balance on this new version III will outweigh diminished sharpness, but I don't think I could ever be happy with less sharpness after seeing the impressive results I get in that regard with my current version II lens. I was hoping for decreased weight and equal or better sharpness with the new 600, but it appears there are tradeoffs for going lighter.

Ozarker · Jul 20, 2019

BillB said:
The R is a Canon camera and you are surprised it gets bashed ???? And then there are the slr guys who don't even like the idea of a mirrorless camera, etc., etc....... and besides it doesn't have a joystick.

LOL! Never said I was surprised. I said I don't understand the bashing.

I was born with a joystick and it has caused me nothing but bad decisions and trouble (A redhead from Paducah, KY comes to mind).

BTW: Just mounted my 70-200 to the R. Works great, but I think I need the battery grip to comfortably use that one. The camera by itself seems a little small, handling/balance wise, with a long, front heavy lens. I need more purchase for my little finger. Otherwise, I am very pleasantly surprised at the great ergonomics of the R. I can't say, though, that the R is as comfortable as a 5D body. It isn't. Still very good.

Jul 19, 2019

I'd like to 3rd the experience with the 7D vs. the 5D AF. I found the latter to be notably more consistent especially in sport settings.

I wanted to like the 7D (and its successor the 7D2), but ultimately it left me wanting, so I used it less and less until I eventually parted ways with it.

Kit. · Jul 19, 2019

koenkooi said:
What I personally would like is an easier way or a way with less "friction" to go from "taking a picture" to "sharing it". See below.

CCAPI was a great move in the right direction, now let's see if Canon can also streamline and open its Bluetooth interface. Then a lot of things are possible to do in software outside the camera.

koenkooi said:
It's not seamless. If you want to use your existing wifi, the app and camera don't always 'see' each other. Using the camera as access point works, but that requires switching wifi later on to actually post the images.

Canon uses UPnP multicast for camera discovery. If your router filters it out, your app needs to know the camera's IP address in order to make a connection. Anyway, you better have a router under your control if you want to use external access points for a connection between your camera and your phone. Something like GL-MT300N-V2 may work wonders.

koenkooi said:
The in-camera fuctions on my RP break down fast because I shoot raw only, it converts to jpeg automatically for some things, but not all.

Again, using CCAPI, you should be able to upload the original RAWs to your phone (if it's enough for your purpose).

koenkooi said:
The above complaints are software, which can be solved with updates, but there are also hardware issues. The M50 has a "wireless" button, which saves you from going into the menus. Press the button, press 'set' to select the first entry and it will connect to wifi and wait for your phone.

I'd like Canon to be able to do it through a BLE service. You press a button in your phone app, your camera wakes up and connects to phone's WiFi. Even if Canon's current camera cannot do it yet (maybe they can), it's highly likely that it can be added with a firmware upgrade.

koenkooi said:
Most of the pictures I want to share go over iMessage, which won't be supported by the camera because of apple reasons, but a "post to instagram" option in playback would probably go a long way for that crowd. The new g7x supports live streaming to youtube, when will that land in the R series?

EOS RP supports live streaming into your local network. With some extra hardware and software (VLC or ffmpeg, for example), you should be able to forward it to a Youtube live stream. Of course, it is less convenient than having it in-camera, but more flexible.

Jul 19, 2019

I am a really big fan of this lens, had it for a good long time. I use it mostly for for wildlife as seen from this picture of Roxy(which I have edited the background to lessen the effect of the fence that was in-between us). Perhaps only my copy, I can only take pictures at f2.8 to get sharp pictures as when I stop down the focus is almost always out at f3.2 to f7.1. Focus accuracy or perhaps just the DOF increase improves at f8 and f11.

andrei1989 · Jul 19, 2019

sigma posted this on their facebook page, just thought it looks cool

the 45mm without coating

Ozarker · Jul 19, 2019

Mt Spokane Photography said:
email the seller and ask for a refund of the 1 day shipping. They can deal with the shipper. Wait until you have it and determine that its ok first.

Yes. Adorama refunded all shipping.

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