maybe use a jumbo sized diaper then? The purpose of a diaper is to absorb stuff. right?

Jopa said:

SecureGSM said:

yes, that is what the blue bag is for: to protect your camera bag and Canon gear from water dripping out of leaky SONY body. another good idea is to wrap that leaky SONY camera body in a disposable diaper. the stuff is available from your local service station. very convenient.

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LOL that's a rough joke Imagine amount of $hitstorm if you post it on a Sony forum

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FramerMCB said:

I actually am interested in how this new Sony 24-105mm f/4 performs optically. The Sigma Art version is rated better than Canon's v1 of same, and I believe performs favorably against Canon's Mk II also.

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Given how the 24-105L II is not an optical upgrade of any serious measure , I think that's a safe assertion.

- A

I've used the GH5, the 5DIV and the A9 this year. Here are some comments not in the order of the OP's question:

1) For stills all of them can record to separate or multiple cards, but only the GH5 and A9 can record video to both cards at the same time in 4K/1080.

2) High ISO performance with modern cameras are very similar, but the 5DIV moved to an on-chip ADC so it will be much closer to modern generation Sony sensors which seems to be the benchmark these days. It will also give you much more latitude to recover unexposed images if needed vs the 5D3 generation of bodies.

3) DPAF is great, but you have to be in live view mode. Going to live view mode will also give you exposure simulation as well which will render the scene approx. how it will appear when captured to card.

4) You will also lose one point of stability if you are shooting at arm's length in live view mode. I used a Zacuto enforcer grip with a Z-Finder on the LCD to shoot the 5DIV in live view mode when capturing movies to regain that lost point of stability. It will however block the screen, so you have to rely on the joystick for AF point adjustment.

5) DPAF AF speed however is not as fast or reliable in difficult conditions as the 5DIV's native OVF/PDAF shooting mode. The camera was really designed from the ground up for OVF shooting vs say the GH5 or A9 which was built from the group up for mirrorless shooting. A different set of priorities.

6) Anti-Flicker on the 5DIV is great for shooting a lot of wedding venues that have a combination of cheap led and fluorescent lights. It is a VERY useful feature which you won't get with a 5D3.

7) Rolling shutter is a big deal on the 5DIV in 4K, so 4K grabs for high action sequences might be problematic and you will probably experience some disappointment with skewed images aka the "Jello effect." I can't find exact timings on the 5DIV, but on comparison tests, the 5DIV is quite a bit slower than the 1DX2.

https://www.dpreview.com/files/p/articles/7057004492/5DIV_vs_1DXII-thumbnail.jpeg

These are also timings from modern cameras for comparison:

A9 FF 20fps 6.68ms
1dx2 1080 60p/120p 6.7ms
1dx2 4K 14.7ms
gh5 15ms
a7r2 4K 19.9ms
c200 4K/1080 16.1ms

Some cameras are faster in 1080 vs 4K. I couldn't find A9 timings in movie mode, but in 20fps 24MP mode, it is 6.68ms. Sony also uses a marketing term "anti-distortion" which apparently corrects jello, but it is probably mainly due to its use of a stacked sensor design.

if this is it, you should not be disappointed

https://www.canonwatch.com/new-canon-4k-uhd-portable-zoom-broadcast-lenses-announced/

Kwwund said:

I’m disappointed in the dynamic range of PC2328, whatever it is.

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AlanF said:

neuroanatomist said:

takesome1 said:

neuroanatomist said:

Who's Brian? :

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Maybe he used his wife and her PHD in CS to find out your real name.

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Could be. If so, she's not very skilled at CS, and if he needed help to click a single, easily seen link, that's just plain sad.

—John

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He thinks you run TDP (a not unknown misconception) and has dyslexia or is it dislexia.

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If the misconception is true, Bryan did a great job creating a fake identity.
Or if the opposite personality is real, whose daughters does Neuro use for models when he is doing demo shots as Bryan.

Nice pictures, Fred.

The replacement Sandisk SSD finally arrived today, I think the original problem happened about Oct 5, so it took over 4 weeks to get it replaced. They sent the replacement by Mail Innovations, so that alone took over a week, first class mail would take 2-3 days from Wisconsin.

Don Haines said:

Don’t forget the impact of robotics..... Labour might cost more in Japan, but robots work for free and for 24 hours per day.....

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I wish that were true. However, there are people who operate them, maintain them, program them, build them, design them, and they all want wages which must be factored into the cost of a Robot. Then their is the cost of designing a part or product so it can be made by a Robot.

The thing about Robots is if everything goes right, they assemble products identically, with little variation, and the cost per unit is less. That includes not only assembly costs, but fewer failures due to improper assembly.

On the other hand, they are not smart enough to detect a programming error, and if a part or product is mis-assembled / machined, they can make a lot of scrap very quickly. So a person needs to ride herd on them to provide common sense and spot obvious issues that a Robot can't spot. They continue to get better and better, and sometimes limited tests can be done to raise a flag if the part does not function. This requires a 2nd person or group writing test programs so that tests are not run based on the original erroneous instructions.

Obviously, even with all this, they can save a lot of money, but they don't work for free.

Thanks for your replies.

I have the 15-85 USM and as I wrote; I'm very happy with that.
I'm also very happy with the results of the 10-18mm IF they are in focus. But a little too often they are not as a result of circumstances beyond the lens itself (which I described above). So I do want another lens, because my 10-18mm lens with its good IQ is fantastic, but useless if the photo turns out to be unsharp....

It is a pitty that apparently Canon prefers to manipulate customers. Not making lenses that may be in demand because buyers might actually enjoy those, and therefore not switch to FF, can even be interpreted as contempt.

I guess this all means I will have to look for a non-Canon lens then. I'm in no particular hurry, so i will take my time to compare the new Tamron 10-24, the Sigma 10-20 and hopefully its replacement that ajfotofilmagem mentioned that might come soon. And I also saw that Tokina has an 11-16mm that has specs that look good.

Hector1970 said:

Very unexciting photographs. They may as well have been taken on a phone.
You couldn't tell anything from them.

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It's DPR. Unfortunately that's the best they can.

SecureGSM said:

PBD,


OP said that he had to shoot at 1/200 and F11 and he HAD to use a much more powerful strobes to compensate for power loss:

... was using two 600 ws units as opposed to my usual very compact 360 ws units..

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.
please note OP logic: had to shoot with higher power strobes than usual.

Now, I said exactly what you said: I pointed out that he did not go into HSS and therefore he lost NO power. hence no need using more powerful 600 Ws strobes instead of usual 360 Ws Op used.

In the second part of my comment I pointed out that if OP would rather shoot at F8 rather than F11 aperture he used to avoid HSS territory, there is a simple solution to open up aperture by 1 stop and loose relatively small amount of flash power.

OP had to use F11 at 1/200s, ISO 100 instead of F7.3 at 1/500s, ISO - these are identical exposures.

repeat:

no loss of flash power at 1/200s
if F8 was required instead of F11, then ND2 application will allow to open aperture up to F8 at 1/200s but strobes will have to be cranked up by 1 stop

.. Mind you flash duration times are pretty long at higher powers so once you go over 1/350 sec the shutter starts to limit your flash exposure power anyway..

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Correct, GODOX AD360 II flash duration at full power is 1/300s. GODOX AD600B flash duration at full power is even longer: 1/220s.

privatebydesign said:

SecureGSM said:

your example shooting at 1/200s: you do not need to use HSS mode when shooting at 1/200s unless you are a Canon 6D user. Thus you do NOT loose any flash power. If F11 was too narrow for you, then you may have consider using decent ND2 (1 stop) filter to slow down the aperture by a 1 stop and shoot at F8 instead. Yes, this will result in a somewhat higher flash output, but you loose very substantial 2.5+ stops of flash power as soon as you crossed out of the X-Sync territory. Hence ND2 is a lesser of two evils. slight colour cast is very easy to compensate for in post.

Normalnorm said:

I just returned from a shoot for a magazine cover (lifestyle) where the subjects were facing away from bright sun. I had to shoot at f11 at 1/200 with ISO at 100. Flash shooting in a large umbrella to cover 4 people needs to be very powerful. ( was using two 600 ws units as opposed to my usual very compact 360 ws units) With the G1 X mk3 I could have used f7.1 at 1/500 thus using far less powerful flash and still maintaining decent DOF.

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He didn't say he went into HSS so your comparison of ND2 1 stop loss vs HSS 2.5 stop loss is irrelevant. At 1/200 he didn't go into HSS so he lost none of his 1200Ws flash power. The point is the ambient required f11 at 1/200 at 100 iso, he couldn't give the ambient less because to do so would either push the camera into HSS or affect the flash exposure. The flash exposure required 1200Ws at f11 at 100 iso. The only way to beat the equations and lower the flash power while maintaining ambient exposure level is to raise the shutter speed and have a faster sync speed.

Mind you flash duration times are pretty long at higher powers so once you go over 1/350 sec the shutter starts to limit your flash exposure power anyway. People who thing a leaf shutter or global shutter will give them full power flash at high shutter speeds really are missing the concept of flash duration.

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The ENTIRE point of a leaf shutter is that you can use a lower power flash and open up your aperture and still balance the exposure by boosting your shutter speed to 1/500 or even higher.
I have been using leaf shutter cameras since the early 70's and can tell you that they exceed FP shutters when it comes to flash ALL THE TIME.
Hasselblad LS lenses had a tab that you set to the EV. Once set, the aperture and SS were linked and changing one parameter changed the other. Thus you never changed exposure, only the Fstop/SS combination. It was brilliant for fill flash.

ND filters are an annoying kludge that has become popular because of the infatuation with shallow DOF. You still need mad flash power which means you have to bring heavier gear which is a big pain in the butt.

I regularly shoot a leaf shutter camera with ISO 125 at f4 and 1/640 sec and can have a small speedlight throw great fill 15 feet at half power. This cannot be done with a DSLR and a speedlight.

5D IV images taken at ISO 3200+ are much cleaner than taken with 5D III...
there are number of other IQ related improvements that are very noticeable in 5D IV.

i.e. should you push sliders in Lightroom a bit further, 5D III RAW files would start falling apart much faster than 5D IV files... highlights recovery works better for 5D IV files for me... etc.

AlanF said:

CanonFanBoy said:

AcutancePhotography said:

I dream of the time when my camera body is the weakest link in my photographic system.

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Ha! Me too. I am definitely the weakest link. I look at it this way: If I can outgrow the 5D Mark III I'd be a very happy man. So far, I cannot. So I'm saving money because I have no real excuse to upgrade. Upgrading from the 70D was huge. I can't imagine things getting much better than the 5D Mark III for me.

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You see the improvements as you push the camera to its limits. I find the AF has improved and I can capture birds in flight much better. But, if you are not taking shots of fast moving birds it would not be that noticeable a difference.

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One aspect of smartphones often overlooked is the fact they have also replaced the traditional photo album and/or shoebox of old photos. Not only do they capture images, they display them at a size close to the old 3-1/2'x5' or 4'x6' snapshot. Ask a friend who isn't a photo enthusiast to show you a picture of their kids... out comes their smartphone. Not enough storage, add a microSD or bump them into the cloud. Look for better cataloging software making locating images easier on phones. So far, not a feature on P&S, mirrorless, or dSLR cameras.

As to experiences vs. physical images... have you noticed how many 'pro photographers' have shifted to offering seminars, photo walks, photo tours, etc. I talked with one local pro who simply stated that it was an effective way to augment otherwise declining earnings due to too many "Uncle Bobs" and fewer print sales. At the same time he realized that the more folks with pro skills the less work for any one individual working pro!

Mihrab of Cordoba Mosque (Spain - August 2016)

eninja said:

Guys,

Any quick "how to" get shutter counts of 6D?

Thank you.

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This software will also give you the 6D shutter count:
https://orlv.github.io/freeshuttercounter/

This photographer has over 600,000 exposures on his 6D:
https://www.youtube.com/watch?v=4Wa2SOSLTgU

I am looking for a hotshoe optical slave trigger primarily for a Vivitar 283 UV mod with trigger voltage of ~280V, but would also like the option to use on my Canon 580EX or the MT24/26 with ~6V trigger voltage. Not sure trigger voltage matters with optical slaves.

Wein slaves get very uneven reviews (many do not seem to work out of box), not sure what else is out there. Any recommendations?
I just ordered the Wein Save-sync to connect the Vivitar via PC cable to Canon dSLR, but also want a no-cable option.

It looks like Sony made an excellent lens. I have tried Sony's mirrorless options and they just didn't gel with me, it's hard to undo years and years of getting used to Canon. Nonetheless I am always pleased when the competition brings out a new product. While Canon are not the type to panic and respond quickly, over the long term they will be of course keeping an eye on the quality of other competitive products. I can't see a 100-400L III for many years but some other lenses in the area - the 3004 and 400/5.6 need updating and it might push them, along with Nikon's excellent 300PF to bring out a 300/4 DO.

I am curious that the Sony is so much lighter than the Canon despite being around the same size. The Canon 100-400L II has a reputation as one of the best built lenses you can buy so it will be fascinating to see what happens when there has been a tear down of the Sony to compare.

Agfachrome seemed to me to give cooler results, which I thought suited some subject matter. So I would use an occasional role as an "artistic" choice. I think I used Anscochrome in college because it was a little cheaper, and I liked the results. So in my head at least, it gave the most neutral results. I haven't looked at enough old slides recently to see how well different kinds of slide films have held up. My slides taken in Eastern Europe in 2000 were all on Ektachrome, which was all I could find at the time, both here and in Prague, and the choice was fine with me. The slides I've scanned in from that trip still look pretty good. So far, I just scanned some slides from Helsinki. http://www.stevelee.name/helsinki/index.html The slides look much better than the scans do. I may try redoing those some time, but I will finish the St. Petersburgh, Budapest, and Prague photos first. By that time, I may have more insight into how to get the best scans given my hardware and software.

Happy ending! Thanks for following up to let us know Canon treated you right after the back and forth.

This relates to a improvement of a patent which had a curved sensor but a flat substrate. This one uses a curved substrate to match the curvature of the sensor. This eliminates the difference in voltage drop between the connecting links (bumps) between the pickup surface and the substrate.

The bumps or connections must get longer toward the outer edges in the old method which causes voltage drop issues, while the distance is the same in the new method.

There is no information as to how the curved substrate can be made.

If only it were for APS-C DSLRs!!

EF-S 15-85 is a great one-lens solution for most situations. For ultra-light, I use the 24 and 40 mm pancake lenses despite my real hatred of using the focus-by-wire when I need manual focus. The pancake lenses have the best ratio of image quality to cost of any lens out there. The 40 rivals my Sigma 35 f/1.4 if both are at f/4 to f/11.

KeithBreazeal said:

Jopa said:

No questions about VC, but how's AF???

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Seems pretty good. Low light lock was fast and nailed the focus without any lens/AFMA adjustments. Tap-in console was free with the lens through B&H.

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Even @ 70mm? You're lucky!

A few little tweaks and I would be thrilled. I had a 5DIII and a7RII and replaced the 5DIII. I have learned to love the tilt screen on the a7 alot as well as IBIS. but I have taken great images with both cameras and the GPS is one of those features that I never thought I'd care about that I like to have now. no one camera has it all I guess.

9VIII said:

If you look at the pencil sketched scene (left of center) with either the D850 or 5Dsr, it’s practically painted in with rainbows from all the Moire.

The Sigma Quattro H actually handles it so impressively I nearly bought one (but opted for Fuji instead because it can be adapted to any lens).

The D500 also doesn’t “show” much Moire but you can just see a bit of rainbowing on the top right corner of the sketch, the only reason the AA filter free crop bodies like the D500 don’t show the same ridiculous moire is because they’re not being shot at the right distance to match pixels with pattern detail. Just frame it a bit differently to get the right frequency of details and you’ll be swimming in rainbows on any sensor wouthout an AA filter (Unless it’s Sigma or Fuji).

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The Sigma Quattro H destroys any other camera on that test chart, and it’s not even close.... then you raise the ISO. Oh well. Would be an awesome “one trick pony” studio camera I guess.