If you ever travel to SE Asia, especially China, repairs are super cheap. The local Canon repair in the US told me to just buy a new zoom since the little ribbon cable inside had broken but in China the repair was under $20.

Don Haines said:

Kit. said:

mb66energy said:

If it is SPI (a synchronous serial interface using a common clock)

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It's reportedly SPI running at ~80kHz clock sync. No need for slave select because back in the 80s no one expected to have more than 1 MCU in the lens.

Actually, I'm surprised that negotiation for higher speeds done at lower speed of the same serial protocol is patentable at all.

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It could be that the implementation is patented, not the concept.....

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Concepts and Ideas cannot be patented. A working model that is complete enough to demonstrate the invention is required.

This patent is based on previous patents, also owned by Canon. It differs in that a lens with the new protocol is able to be used with existing camera bodies, be they EF, EF-S, or M It could be used on a future mirrorless, but there is specific wording stating that the example is the preferred implementation, and that is a interchangeable lens camera.

Already posted -- head to the main thread.

- A

That is a nice chart. Every time I see a 1" sensor camera, I always am backing out the numbers in my head, so this is handy.

Hat tip to DPR on that.

- A

It's USM, we're good.

- A

Glad to see the bulbous front element that blows away convenient front filtering was worth it! Look how well controlled the vign--

Oh.

Ouch.

- A

The visitors to read the content of this genus have not fully make up for the lack of explanation as to take part in.

CanonFanBoy said:

TommyLee said:

neuroanatomist said:

From a dictionary that somehow got transmogrified from the Mode Dial Boy Universe into the real world:

in·no·va·tive ˈinəˌvādiv adjective
1. when a manufacturer makes a product that I personally want

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ha!...
I tried to resist ... a full belly laugh ..on this one ....for 1 microsecond..

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He is actually the funniest and one of the most astute on these boards in my opinion. Dry as heck, but in the best way possible.

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"Dry?" Neuro? I do not think that word means what you think it means. Oh, you mean "dry" like a sledgehammer. Got it now!

CanonFanBoy said:

Well, I guess some might call it tacky or gimmicky. I don't understand that. Tacky would be a matter of personal taste, of course. Gimmick? I'm not sure for myself. Done right, it is great to my old eyes. I don't see anything devious about the style that would make it a gimmick. A valid tool in the right hands. Here's a video of a pro using TS at an air museum. Shots not possible with a standard lens.

You did ask how and why. The answers to that are everywhere.


https://www.youtube.com/watch?v=gTDCW_8AsSo

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Great video and a good answer to my question. Really nice use of the TS.

Tacky, is as you say, a matter of taste. I agree with Keith on "gimmicky." I did express the hope that I could transcend those even if I were shooting wedding pictures. Just because I didn't care for the ones I saw on line a while back doesn't mean that no one could do them well or even to my taste.

As I may have suggested earlier, my puzzlement came from a rather narrow definition of "portrait" rather than a more general sense of people pictures.

Thanks for your replies.

slclick said:

"I am sure these features are priceless to others but I have yet to embrace them."

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;D ;D ;D

+100 hehe

If you have an Apple computer, Sandvox is worth exploring. The SW runs on your Mac and makes it easy to build and see your web site off-line, and then publish or modify the site on your chosen web host. Really easy with no HTML experience required, although you can coustomize with Personal coding if desired. Explore on the Sandvox web site.
I set up my site with this SW.

I have the Velbon Ultra Rexi L - packs to 13" without the head which means it fits in the cabin baggage and as a bonus opens to taller than my Manfrotto 190XProB and is more sturdy. My only niggle with it is that it has twist-lock and not levers but that is personal preference.

pwp said:

Where does that leave the Panasonic Leica 42.5mm f/1.2 DG Nocticron? And other Leica Noct-ish or Noct-esque lenses?
-pw

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yes, quite grot-esque.

i already can see armies of lawyers gearing up for rights infringements litigation, before they become unemployed, as the apple vs samsung "they stole our groundbreakibg rounded corners" case seems to have come to an end.

working now thanks devs!

Here is an indoor shot on 6D SOC JPG, had to resize to meet maximum attachment size of 5MB.

I use the AVX and highly recommend it. Best range, no interference.

How are Canon article numbers constructed? They are used on almost all of Canon's camera articles.
My latest lens, the EF 85mm f/1.4L IS USM, is called 2271C005[AA], at least in Europe. In the U.S. it seems to be called 2271C002.
I guess 2271 is just a unique number.
The middle letter could be some type of version. My old 24-70/2.8L had an A (8014A008[AA]) and the new 24-70/2.8L II has a B (5175B005[AA]).
The three digit number suffix seem to mostly be a low number, often 001 or 005.
The two letters in square brackets are for all my gear [AA], except for a LP 1216 pouch [BA] and a professional camera strap [AB].

TAF said:

No, a sales tax is a tax only at the final retail level.

A VAT (value added tax) is a tax added at every step in the process.

In other words, when the aluminum ore is sold to the refiner, they pay a VAT. They've 'added value'.

Then the company that takes the raw aluminum and makes billets (which may not be the refiner) pays a VAT. They've 'added value'.

Then the camera maker pays a VAT on the aluminum they buy to make the body. They then 'add value'.

Then the store you're buying from pays a VAT to get the finished camera. They've 'added value'.

Then you pay it when you by it. (your added value to the process is to put it to work; sometimes they also add a sales tax, just to add insult to injury).

It is insidious, and why prices for things in countries with a VAT are frequently double what they are in countries without such a tax.

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Off topic but needed to clarify:

You're slightly misleading people here as you don't explain that if you pay VAT on goods or services as part of your on-going business, you can reclaim this input tax (as it's called) back from the government. So if I buy aluminium ingots to produce camera bodies, I can reclaim the VAT I paid the supplier. When I sell the bodies to my customer, I charge them VAT which I pass to the government. If my customer is VAT registered and buys the goods for a business use (either to use as part of their business or to resell again), they can reclaim from the govt. the VAT that they paid to me. It's the end user e.g. Joe Public who cannot reclaim the VAT whereas everyone else in the chain (usually) can if they're VAT registered.

Chrome-plated mount? Alright.

melgross said:

Durf said:

Talys said:

transpo1 said:

What this tells me is, although Canon and Nikon still rule among professional photographers, they are seeing steep competition from Sony, with the A7III being the #1 Top Seller at B&H. The video competition from the GH5/s line must be taking a toll as well.

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Could that possibly be attributed to the A73 being the latest release? :

By the way Sony A7R3 and A73 were discounted very shortly after release too; it was just a disguised discount. You had to bring something to trade in. My friend took a very old -- and very broken, as in cracked -- EFS kit lens and got $300 off of his A7R3 a couple months after launch; a similar offer was made a month or two after A73 (any ILC body or lens), with increasing rebates for A73, A7R3, A9.

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Personally I don't believe that a discount automatically means the camera is not selling well, it could actually be that they want them to sell even better and to get as many in to peoples hands as possible. What better way is there to get more customers using a product and to prepare them for possibly wanting to upgrade to the next "better features and improved version"?

In my opinion the M50 is just a baby and a teaser to what's coming and that most people buying it will happily pay a little more for a better version (M60) or even a way more expensive FF mirror-less down the road.

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It’s a good indicator. And the bigger the discount, the worse sales are.

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Marketing: "Let's arbitrarily set the MSRP (Manufacturer's Suggested Retail Price) at $3,600. The gearheads will jump all over it for a couple of months. Then as initial excitement calms, we can offer a rebate so the consumer feels like he was smart for waiting. Then after the excitement calms a little more, we can allow the retailers to cut the price a little AND we can offer rebates. By then people will feel real smart about waiting. In this way we can grab a little money beyond our projected profit margin."

"And let's remove the rebates now and then so that the rebate seems like something special."

There never really was a discount. It's marketing to different segments of the market. It's feel good marketing.

Years ago (30+), everytime Sears ran a sale in Jackson, Tennessee the store staff would spend the night changing price tags. They'd mark up the price and then you'd get the "10% discount" off that marked up price when you came in for the "sale" the next day.

There never was a sale.

ahsanford said:

Famateur said:

I really like my 70-200 F4 L. It'll be interesting to see what they have in mind to improve upon it with the Mark II. Quieter IS motor is about the only thing I can think of...

Can't wait to see some reviews!

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For both, one might expect:

Lighter
Sharper
New CPL cutout in the hood
Slightly better IS
Maybe a new tripod ring design?

But as virtually everyone has said thus far: both of these lenses are still outstanding today. Canon will need to pull a rabbit out of the hat to get folks to upgrade.

- A

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I Guess the Rabbit will be related to the other post of a new communicationsprotocol, that again is linked to maybe a mirrorless. The quess in another thread is, that the nws protocol will give faster communication between lens and new (mirrorless?) cameras. Mounted on older EOS cameras the protocol will be the same as the one currently in use.

juan said:

I'll give you an example. Recently, I was at a roof top bar with some visiting business partners. It was a dark night and there was a great skyline. We wanted to get a nice group shot with the skyline behind us. Photos taken with phone cameras using flash either made us too bright or made the skyline too dark, without the flash, we were too dark. With my camera, I was able to get a shot in RAW without using a flash that would be perfect with a few seconds of quick edits but I had no quick and convenient way to get a RAW to my phone. The JPEG didn't have enough depth to work with. When I got home, I was right, the RAW shot turned out great. But it was kind of a moot point. Folks had shared their shots hours ago when we were there.

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G7 X has both slow sync mode and flash exposure compensation. Wasn't it enough to get the desired image straight from the sensor?

As an interior and architecture photographer, my experience differs, I simply couldn't live without my TS-E collection. Every time I try to use my 16-35 instead (especially indoors) I am stuck with either too much floor or ceiling, the shift is useful as well to adjust the composition in relation with the elements in the frame. Sometimes I need a focal in between 17 and 24 and the zoom does it, but the TS-Es make my life much easier.

Optically speaking, both 17 an 24 are excellent. With the 17mm, be careful with flare when you face the light (that's my main complain about it) but it can be really annoying, the 24 is a bit sharper but to it doesn't really matter in real life, it main drawback IMO is the yellow / blue color fringing that can be difficult to remove completely in post.

With super wides, it is difficult to compose an interesting image; showing everything is not what I call a composition, so I would start to rent the 24mm for a try period.

Finally think as TS-Es as "tripod" lenses. Yes they can be used handheld, but critical focusing (specially with the 17mm) is difficult and better achieved on a steady image with live view. If used for architecture, you'll need time to "study your frame" and adjust the levels perfectly, and be able to use smaller F-stops and slow speeds.

Personally, I never take them for traveling, unless I am ready to carry also at least my small tripod.

Finally do not forget the golden rule with architecture photography : use a lens as long as you CAN and as short a you NEED.

Have fun with your experiments.

It came with my 5D MK IV, but I never used it. It expires soon.

Great shots guys!

Jack