"I have an attorney for Christian Louboutin on line 1."

I've a 7DII but never experienced that.
I'd certainly try to exchange it if you can for a new one.
I'm not its biggest fan. Other than the frame rate I don't think its a great camera - certainly not for the money.
My one at least has poor high ISO performance even for a crop camera.
I'll be interested what they do with the 7DIII and what they will improve.

if Zeiss would make AF-lenses for Canon and Nikon, their consumer products division might also grow more than just a disappointing 2% per annum ...


PS: if it got no AF, I will not buy it. Neither camera nor lens. No matter what.

Hi Alan.
Thanks for the heads up on the size, I have just remembered I have a tin with some special bits, a couple of tiny ball bearings, some custom hand made tool-steel boring tips and an assortment of tiny drills. No idea how small they go, I will report back later. If I don’t have a suitable drill I will have to see about getting one after the festive season.
Just a thought, but if I drill the hole a bit off centre will I have a fixed ‘shift’ lens? ???

Cheers, Graham.

AlanF said:

Your drills would seem to too big, though I have some watchmakers tiny ones. You could try punching through with a needle. But, better still, you could drill a 3 mm hole or so in the centre of the body cap, stick some thin black tape over that and poke a needle through the centre. That way, you would have a thinner membrane, easier to punch through, and you could quickly change it to try different sized pinholes.

Hey, let's use Kickstarter to set up a company to sell the kit.

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1) Sony's own 100-400 works better than any adapted lens, let alone with an additional converter. Especially compared to coming from an APS-C camera, you'll find the 'bare' Sony lens gives you about as much resolving power as the longer Canon lens on the APS-C body. You can skip the adapter and the teleconverter and you'll still have the detail you're used to.
2) Stacking any teleconverter on top of a mount adapter is generally a recipe for failure if you want AF to be any good. With an IS lens like your 509mm it'll also murder the battery double fast. If you shoot for ~400 frames, less than 1 hour or so, and the birds you're chasing are of the larger and slower variety (e.g. herons, geese, some of the more placid eagles), it'll be fi e. If you shoot more/for longer, or simply faster or smaller/twitchier birds, you're going to want to either give up the teleconverter, turn off IS, or keep to native lenses. (See #1.)
3) The 7D mk III is due out within the next three or four months. It will undoubtedly have more resolution, a deeper buffer, more effective AF tracking, and a faster burst rate than the 7D2 you've been using, and in most cases the 5D4 too. (Good chance it won't quite match the 5D4 for total pixel count, but it'll still beat it for pixel density, which is what really matters.) Best of all, all your current gear will work with it perfectly.
4) If you really want to switch from Canon, and you're not sold on the Sony's 100-400, the Nikon D500 and their lenses will serve you better. I really love the a9, but if 500mm+ is what you want, Nikon is currently the #1 and Canon is #2; Sonys have gotten much better with adapters, but anything of that kind of length—and again, let alone with a teleconverter on top—and the tracking and battery life go right down the toilet.

What I suggest you do as your first move is think about whether you can wait for the new Canon or not, and if not, just rent an a9 and 100-400 for a weekend and see how you get on with that. That native combination is great and easily produces the results of your existing 7D2 and 500mm, but with even better focus and faster burst rate. If that image quality isn't enough for you, rent the Nikon native combo next. You're talking about some serious gear, so it's worth actually trying all the options out before going through the hassle of switching systems. It's not fun spending the time and money switching only to find out you still don't get the results you want/have a whole new batch of problems to deal with that you weren't expecting. As a user of Canon, Sony, Nikon, Fuji, Phase, and Mamiya myself, I could never advise someone gambles on switching systems without spending a good few days testing that system first.

scottkinfw said:

I tried 4K but burned through CFast cards too fast.

Scott.

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4K 30fps (24fps) is not using it that much, while 4K 60fps is almost (I didn't verify) the same as 1080 120fps. The big difference is mainly with your computer graphic card.
I shoot 4K all the time, I don't shoot 1080P any longer, unless at 120fps and mainly for fun. It is very useful when you are shooting stills without a tripod and wants to grab few seconds of video; just flip and shoot.
I bought 2 CF 128GB for stills (hockey games) when I was still on the original 1DX and they work fine for 4K 30fps on 1DX II.

Several years ago I was at Disneyworld and came upon a night parade when I didn’t have a real camera on me. I got out my iPhone 5, I guess it was, and took pictures anyway. A surpring number turned out really well. So taking pictures of a lighted night parade must not be that much of a trick.

Do bear in mind too that the X1D's sensor is pretty small by medium format standards. The Fuji GFX has the same size sensor and people have adapted Canon EF lenses to that.

A '35mm' lens projecting an image circle large enough to cover these smaller-than-6x4.5 'medium format' cameras isn't particularly special. The time to get excited will be when full 6x4.5 digital occurs and we can adapt lenses to that. (Though personally, as someone who grew up on large format and mostly used 6x7 for the last twenty years, even 6x4.5 doesn't get me too excited; 35mm sensor cameras can easily replicate the same look with f/1.4 and faster lenses.)

ecqns said:

privatebydesign said:

Playing devils advocate here, what can you do with a tilt shift lens you can't do in post?

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One very big thing for me - is that when you have clients looking over your shoulder when you are shooting - I'd much rather have my lines straight then telling them - "Oh don't worry I'll fix it in post, we can move on."

Plus if you don't use a TS-E you need to include a lot of extra frame for the transformation. A lot of my shots show a straight on perspective, one point, so I want everything to be right in camera.

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another important reason is that I want as much of my 42Mpx Sony frame as possible. Since I have to crop a vertical 35mm frame down to a 4x3 ratio, we don't want to waste pixels.
When I have to use the 11-24 (and I dislike using it but its an emergency) I have to transform a ton of the image, losing 1/3 to 1/2 of the frame.

If Canon (or Nikon!) came out with a 14 (or 13!)mm TS-E I'd be all set for lenses.

YuengLinger said:

neuroanatomist said:

hne said:

I read that as almost the entire optical system moving.

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Indeed, looks like everything but the rear element is in the moving inner barrel. Thanks!

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This helps me appreciate its accuracy and understand its lack of speed. I'm lucky with my copy--pinpoint even at 1.2.

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+1. I am very satisfied with the accuracy of my 85L f1.2 as well. Paired with the 1DXII I have used it with success on running children as well.

slclick said:

neuroanatomist said:

bluenoser1993 said:

Typically the information is easy to find for venues. For example, the NFL has a lens length limit of 6 inches at all stadiums. The 135 is perfect for this and can be combined with a 1.4x if you are further from the field.

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Wouldn't the 200/2.8 be even better?

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Yes, it is one of the most underrated lenses in the Canon lineup and the longest FL black lens. (while being quite compact still) It's also a pretty good performer on the M5 with the 1.6 added.

5D3, 200 2.8L Antelope Island, The Great Salt Lake

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Makes a great portrait lens, too...if you have enough room.

T1i, 200/2.8L II @ f/2.8

keithcooper said:

SkynetTX said:

Lossy RAW encoding is a complete nonsense. If Canon wants faster burst mode they should include more memory in their cameras for processing. By the way, I absolutely don't care about burst mode. I use my camera to take still pictures. They should develop a true macro lens with Insect Stabilization instead.

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Insect Stabilisation - is that a puff of poison gas out of the front of the lens?

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DDT...

jolyonralph said:

From those who don't want to do the maths themselves, a 3.4um pitch sensor gives you:

APS-C : 29 megapixels
FF: 74 megapixels

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But for this sensor, it's only 5887200 pixels, 5.8MP.

Don Haines said:

I found that the 105mm cannon works quite well for shooting people

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EF mount.

The issues raised in the comments here are interesting in the way they show that you ideally pick a lens for the work you want to do with it.

I've gone back and measured a number of shots I took at f/2.4 and it is significant, but still quite fixable in ACR.

I'm partly going to pin it on the size of the front element in this particular design, which does seem small, given the size of the front of the lens.

Unfortunately, the lens has gone back, so I've not had a chance to check the filter thread issue mentioned. I had a polariser to try with the lens, but only used it a few times. I'm just not a big filter user at wide angles (the new big filter system was not available to try at the time I received the lens).

Not sure when the 11mm is turning up - I'll be interested to see how it compares with the likes of my 11-24.

That said, I'm the first to admit that I simply don't have the patience to do much detailed lab type testing - it's about what you can do with a lens for me ;-)

BTW, if anyone has any specific questions about the 11mm, drop me a line at Northlight and I'll try and check when it's here.

I have not found any softness, but then I do not pixel beep the corners to find errors. There probably is softness in the corners because of the distortion correction.

https://www.dpreview.com/reviews/canon-powershot-g9-x-mark-ii-review/5

Valvebounce said:

Hi Tron, Frodo.
The trick is not to close the card door (or take the battery out for charging) then this setting doesn’t get reset, at least these are what I have found works on my cameras. The second you close the card door with a battery in the camera (even with the camera off) the camera reads the cards and changes the default. I usually see a message something like “separate recording not available with no card in slot 1”

Cheers, Graham.

tron said:

At yellow/setup menu tab1 select card 1 (It's the CF card) in Record/Play field.

NOW: If you remove it for some reason (for example to put it in a card reader to copy photos) and then reinsert it you have to check this number again (camera will not be able to use card 1 so it will use card 2 and I have seen this number not being set back to 1 afterwards).

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Nice trick! Thanks! Although I am more or less used to it and set it back I do remember missing it a few times.

I’m getting very annoying pop ups on my iPhone when I go into the site. It’s aboit testing an iPhone 9. Why would that be? It blocks access to the page.

The photo I posted from my 18-55 was shot with the IS II version. A recent copy, but it was not the STM version. That would be an interesting comparison.

I did take my new 15-85 out for a little urban photo safari today mounted on my 77D. I'm pretty pleased with the IQ and the handling as well. I sort of wish it were lighter, but the weight balances very nicely when you are shooting and made me feel like I had solid shooting position. That portends well for use as a walking around lens without a tripod.

Here is a shot I took today: F/8, 1/200, ISO 100, 50 mm, with a big bump in contrast via Lightroom for effect. This was a vertical shot, I cropped the top and bottom quite a bit to get the squarish format.



There was a tiny bit of CA in the corners, but I could only find it by toggling the CA correction in Lightroom.

Nice work! Looks clean for underwater, nice to stare at for a while =)

okaro said:

i have solved the problem by checking the error in each camera and then I use a a combination of a script and a program to adjust the file timestamps. With this I can achieve an accuracy of 1-2 seconds a month.

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Okaro, this sounds very useful. Can you provide more detail?
Thanks

dingdong said:

I spent $1000 in 2011 on a Sony camcorder with the same specs. My current phone shoots better video. Canon is exasperating.

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I like the video I shoot on my iPhone. Tried SloMo which worked great

Frodo said:

kaihp said:

Curious: why are you only moderately happy with the SW2700?

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First one had serious lack of colour consistency with the left side being visibly warmer than the right. The replacement screen is much better but still outside BenQ specs. I've been waiting for a fortnight with no reply from BenQ. In hindsight, I should have bought a lower res Eizo for 50% more money.
If you get a good SW2700, you will be happy. Perhaps the third one will be good and I will be happy!

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Eww, not good. I have been eyeing the SW320 for some time, but this cools my interest in BenQ as a brand.

interesting and rather mean/condescending replies to this topic. While there is some interesting insights and differences of view, the delivery could use some work.

I'm also of the camp that I've more or less stopped investing in Canon, but haven't yet jumped ship due to investments. I normally agree that they take turns leapfrogging aspects of technology, but this cycle seems excessively long and Canon isn't innovating/giving ME what I want for the price point.

Its pretty telling their latest release the 6d mkii was on sale for $509 off and with a bonus of about $300 in accessories in less than half a year after release. I still didn't buy as it felt like a lukewarm release, it gives the impression of being behind the others and missing on a few key areas for me (such as the autofocus spread being so narrow).

I still continue to hope for something exciting given how much it costs to change, but I'm voting with my wallet and I've stopped investing in them for now.