monkey44 said:

Apparently, stand-alone 24-105 II is now in stock at Adorama ... not sure how many, and not sure if I missed the fact that it's now out there in other areas as well. Have been out of touch recently --

B&H is OOS tho, which is unusual that both have the same items and pricing as a general rule.

I ordered one today .., and will test it side x side with my v1 when it arrives Thursday. See how it compares in field tests. Then sell one or the other - probably keep the v2 tho, makes more sense even if for the IS ...

I've been on the fence with this based on reviews, but pulled the trigger when I saw it available alone. Was never gonna buy it as the kit anyway. Haven't planned on upgrading to the Mk IV - 5DM3 and 7D2 still give me what I need for today. We'll see in the future when the price drops on the MK IV, maybe ??

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I love the focal range of this lens, it is especially useful and convenient when I go for overseas vacation. I sold my mark I and now on the fence for mark II due to the reviews. Interested to know your results.

kodakrome said:

Greenville, South Carolina.
10-18 STM lens

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chez nous on les appelle des tramway

@cayenne - Your assumption is correct. You have to create a personal Facebook page before you can create a business one (both of which I have done). On the personal they try to get you to add all kinds of things, music preferences, fave movies, place of employment, etc, etc. However this is optional so I just left it all blank. You also have the option on your personal page of only allowing people you friended to see it (which I have done) and to not allow face recognition tagging (which I have done) and to not allow others to post on your page (which I have done). The one thing they do require when you register is to give your birth date, though you can choose to not have it displayed. I just made up a fake birthday when I registered.

This thread makes me want a Fuji again.

My V1 100-400 doesn't seem to like being on a tripod with IS on. I blame the IS for ruining what otherwise would have been absolutely stunning images of the Blood Moon (I forgot to turn IS off - and yes, that is tongue in cheek - who knows how they would have turned out??? ). I haven't really noticed a difference with any of my other lenses (mostly f/4 versions of 24-105 Version 1, 24-70, 70-200, plus some others). I usually forgot to turn off IS on standard landscape shots and find it doesn't matter.

I've had the new Samyang XP 14mm f2.4 here for a while and written up a review.

A vey nice lens to use if you don't mind manual focus - a few aspects of its performance even bested my EF11-24 F4L

http://www.northlight-images.co.uk/samyang-xp-14mm-f2-4-lens-review/

Used to own the 135L and I can say it is a truly amazing lens. Since I have the 100L, the 135L has been underutilized as the 100L has more useability (working distance, IS, probably weight). Hence, the 135L is first to go when I need to sell for funding other stuff.

Was looking for reviews of the 135L and it brought me to this thread. Would like to know if anyone has been using the 135mm with extenders, and probably can share your experience?

Quotes from another review:

"The EF 135mm f/2L USM is Canon’s largest aperture telephoto before we enter the big white primes line. With a f/2 spec, it’s the longest you can get before the EF 200mm f/2L IS USM. Also it’s the most portable (11cm) at this length, making it ideal for journalists that can’t carry much bigger tools. Therefore the 135mm f/2 brings the best of both worlds: exotic specification and ease of use."

Hector1970 said:

I thought CLog was a type of wooden shoe from The Netherlands. Why are Canon trying to add it to my 5DIV?
Seriously though what is CLog and how does it make a difference?.
In film making is it all about post processing as opposed to getting it right in camera?
I'm not a film maker so it's a bit alien to me but wouldn't you be better off focusing on a better film idea, script and cast rather than CLog
I probably don't appreciate the finer details in film but HD looks pretty good to me and I struggle to a huge improvement in 4K. I'm just wonder if videographers are sometimes focused on the wrong thing (the gear rather than the content) like many photographers are.

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More or less, LOG is about post processing: giving you the most latitude and adjustment in the image for post. LOG images are unusable as-is. VERY flat and grey.

I am probably 98% for No1

But I do use my 7D2 and compact occasionally so they have their place.

My first Canon was a 35mm film EOS Elan IIe. I think the e stood for eye, as the focus was supposed to follow your eye around. I still have it and am amazed at how hefty and well-built the thing is - it's a real tank, mostly metal, too. I have no idea how many rolls of film I took with that thing, but a LOT (did my own developing, too).

Makes me feel very cool to pull it out some place like Yellowstone where everyone has big guns with long white tele's, even though I don't even put film in it any more. (No, I don't really do that, it's just hyperbole.)

You can buy them for $7 on Fleabay.

My next camera was a Pentax medium format (mucho dollars), but I sold it because I was too lazy to really use it to its potential and it was wasted on me, and I went back to the Elan, then finally to a Rebel. I've had (ruined) several Rebels (I'm hard on stuff, as I pretty much live outdoors - geologist), and I just bought an M5 and am getting ready to order a 5D Mark IV. I have one lens - a beat up 70-200L and shoot exclusively with that (rabbits and clouds and stuff), but might buy a wide angle so I can shoot shooting stars. I did once have a Pentax film camera but somebody stole it during a wild party at my house while I was gone out camping. I learned the hard way the meaning of the saying that the best camera is the one you have with you.

I agree with all the above. I use 7D2 and 100-400 ver. 2 for birds and insects, and can get amazingly detailed photos at MFD. But for long hikes, long days, and some travel I'm using a 7D and 55-250 STM that I bought for $130. It is not capable of the same level of detail, but it is amazing for the price. I've shot more than 8,000 photos and carried it for hundreds of miles, even dropped it once very hard, and I can't imagine a better lens for my purpose and for the price. When it dies I will buy another.

Hi tiggy.
Thanks for bringing this to our attention. I thought it was me but I now believe I may have had issue no 3!
What I would really like to find is an extra setting for GPS, On, Off and Off when camera is off!
I'm guessing this will be hitting my camera in the next day or two.

Cheers, Graham.

Would like to see the CP.3 50/T2.1 as a small, non macro, DSLR ZE 50mm f2.0 version.

I have benefited from your information a lot.

Hillsilly said:

If you are using Lightroom, you can use the soft proofing mode to make adjustments to the image and compensate for the differences.

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It won't help if the ICC profile was created with different printer settings. You'd need to create a new profile for that paper with the 'hacked' settings. Still the paper type settings control, AFAIK, things as how much ink is used, and the dots characteristics. Different settings may not be good for a given paper surface.

privatebydesign said:

DPReview are crazy, but as we all know crazy makes clicks and clicks make advertising revenue.

So much of the article/comment piece is utter bullish!t and the conclusion is so fraught with bias inaccuracy and preposterous prepositions it will do exactly what it is meant to, stir up a load of clicks.

Lets get some for CR. I just found this previously ignored email between DPR and Tony in a Wikileaks dump, I believe it is an overlooked item first exposed in the Hillary scandal but uncovered by the investigative reporting by Louise Mensch into the Trump/Russia collusion articles at patriotics.blog. Jared Kushner phoned me and personally vouched it's authenticity.

Sony has put the final nail in the coffin of Canon and Nikon with the A9. It is without doubt the finest sports shooter tool [I think we should add birder/wildlife tool in here as well (TN)] ever made by any company and the unmatched feature set effortlessly leverages it into the number one spot for any and all serious visual professionals in the stills and video arenas along with the all important crossover sector.

With the far sighted imaginative and revolutionary technological superiority Sony users to date have taken for granted, combined with the unmatched professional level service and support Sony is justly famous for they have elevated the company to market dominance in one master stroke (as predicted here at DPR Northrup.com by us at the leading photography information website for a while now) leaving the previous leaders in the ruins to pick over the scraps left by the generous, gracious and charitable Sony.

That Sony are also offering 100% trade in value and 0% finance for all pro Canon and Nikon users is just the icing on the cake of a company that has proven, once and for all, it cares about you, the photographer, first and foremost. it further illustrates that any and all that don't believe are simply delusional fanboys in denial

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Make of it what you will...

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Crack is illegal in the US. Someone should report these guys.

ahsanford said:

I don't use LR but I used a smart album-ish sort of approach to back out how little I use the 70-200. Since I got it in 2012, I have captured:

• 1,759 pictures (from any lens) that I personally peg as a 3/5 star or better shot.
  
  
• 
  Only 105 of those were taken on the 70-200
  

It's a stellar, stellar lens. But I use it 4-5 times a year for the odd portraiture need or occasional varmint spotting while hiking or camping. It will not join me on this trip due to weight, what I prefer to shoot, and the relatively close confines of the city.

- A

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I guess you and I shoot quite differently. I've had a career as a photojournalist, sports and on-location commercial photographer. Many situations would come up where, despite packing a long tele, I could never get close enough. Even if I'd carry only three lenses, one would be a 300 - or longer.
I agree with you, in the city, a good wide angle is likely to be the lens most used. That's why the 16-35 is an obvious choice. But, unlike you, I find the 50mm focal length unnecessary and it's perspective uninteresting, which is why I'd want something longer. I'm just not sure that 70mm or even 85mm is enough for a lot of cases, say on the ferries around Copenhagen and Stockholm or when you want to zoom in on a architectural detail or isolate your subject.
You're right in that the 70-200/2.8 can be burdensome when you're trying to travel light. (I'm afraid I'm so used to it. In fact, it's the shortest in my three-lens kit when I shoot sailboat racing (the others are 300 and 500, and, yes, hand held). You can save a little bit of weight by removing the tripod mount. Or, better yet, rent or borrow the f:4 model; the IS version won't disappoint you.
I went back and looked into my catalogs to see what lenses I used most on recent overseas trips - Danube, Middle East, Greece and Australia. By a large margin, the 70-200 was my go to lens, with the 16-35 being used less than half as much. Even if I looked at only what I photographed in the cities, it still made up nearly half of my shots.
While I don't know how you shoot or what are your particular subjects (you can probably tell I don't have children), but I would think having something long (at least 100mm anyway) would be a good call. It's probably my photojournalist training, but what I most want to bring back from my trip is the story of where I've been

Another take from http://www.dslrbodies.com/newsviews/canon-claims-cameras-turnin.html

"As usual, Canon is the first to present their January to March fiscal results (partly because it isn't the end of their fiscal year).

Interchangeable lens cameras were up 6% on a volume basis (1.08m units), compact cameras were down 6% on the same basis (1.0m units). Overall, camera sales were up 7.4%, and profit from the Imaging System group was up 49% year-to-year. All generally good news.

Canon's full year forecast is unchanged, predicting a 7% decline in ILC cameras for the entire year, a 13% decline for compact cameras, with sales being relatively flat (-0.7%) and profits up 8.7%. In terms of market share, Canon expects to finish 2017 with a 48% market share in ILC cameras and a 27% market share in compacts.

Canon made a specific comment about G series compacts being strong, which makes Nikon's cancellation of the DL series even more odd.

Overall, the comment from Canon at their press conferences was that camera market decline was bottoming out, and that Canon hoped to now see growth in the category long-term. Of course, their market projections for 2017 still say a decline is going on, so maybe a more accurate observation might be that they think they can see the bottom and how they'll turn the corner."

Impressive.

I definitely do not understand Corporate politics, or how shuffling paper will change things.

Does it give Masaya Maeda more ability to speed up the relatively long time it takes to design and produce a new Camera model?

How did Miyazaki Daishin Canon come to exist? Was it a separate company setup by Canon to do their manufacturing of ILC cameras? I think it came into being possibly as a way for the then small Canon to meet manufacturing needs for fast growing sales.

Apparently, Canon bought 50% of it in 2002, and someone referred to as Large Industrial CO, LTD has 50% I can find no information about who they are.

So, is Canon buying out Large Industrial CO, LTD, or do they own that indirectly as well? Canon has a huge web of different companies around the world.

Here is a poor translation from their website.

Miyazaki Daishin Canon Inc.

The company started production of film cameras continues to evolve and to companies that produce digital products through the production period of bubble jet printer along with the needs of the times.

Zeiss add to announcements from Cooke and Leica about new Full Frame / Vistavision lenses for large format cinematography. The Zeiss Compact Primes CP.3 and CP.3 XD are aimed at cinematographers even on limited budgets with the XD versions able to provide real time information on distortion and shading using the open format i technology developed by Cooke Optics (adopted and used by Panavision, Zeiss, Cookes, Leica etc.)

PhotoSimon said:

Curious as to how many 5D mkiv owners have had the Err02 fault where the camera can't write to the second card slot - The SD card. The camera locks up and usually has to have the battery pulled in order to restart. Usually resulting in a few lost images . . . one wedding photographer I know lost his first kiss shot!

I'm a member of quite a few Facebook groups and I'm seeing this issue reported more and more on the mkiv. I've not had it on my camera yet but a few close friends have now seen this on a number of occasions. One guy I know has confirmed that he still gets it with the latest firmware 1.0.3 and whilst using the UHS-1 class 3 SanDisk Extreme SD cards (these are the same ones I use).

I'd be interested if you've had the fault if you could give as much detail as possible about when it occurred . . . i.e. lens type, memory card details, shooting mode, camera configuration. We've not spotted any pattern yet and are not sure what triggers it. We've reported this to Canon and they are referring the issue to a product specialist who is going to call back in a few days.

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I just ran into this issue this past weekend. It was in the middle of taking several sets of 5-exposure bracketed shots. The camera just kind of locked up and became unresponsive. I was able to resume shooting after waiting a few minutes. Since then, whenever I turn on the camera with the CF card in, the red light on the camera flashes constantly as if it is busy processing something.

BenKing said:

I am attempting to create profiles using Canon Studio Pro using my own photos. I have been following the instructions, using the "Pattern Print",

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"Pattern Print" is good to achieve quickly the desired result for a given photo. It can't be used to create a "profile" to be used for different ones. It is quite like what was made in the darkroom to find the best exposure/correction for a given photo, another one could have been quite different.

The reason is that if the monitor and the ink/paper combination are not properly calibrated, besides making very difficult to compare what you see on screen and on print, means also any change may have "uncontrolled" side
effects - which may impact some images and not others. So it becomes a "trial & error" approach, and obtaining repeatable result quite impossible.

BenKing said:

1. Use photo of CCP in LR to create a profile

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What kind of profile would you create?

You would still need something to read what the monitor displays to compare it with the expected result - yet, a calibration device can simply ask to display "known colors" and read what the monitor actually displays, without the ColorChecker.

You may try to do it "by eye" - and there are some calibration programs that adopt this approach - but it is far less precise. You can start following Studio Pro advice for screen settings (did you? color temperature D50-5000K, Brightness: 120 cd/m2, Gamma: 2,2), which should make images appear closer to the print (most monitors have default settings which make them way too bright and too "blue").

Still, what you'd really need is to create is a proper monitor ICC profile, and LR can't create it. The software that comes with CCP can be used to create "input" camera profiles, to be used instead of the LR standard ones. They tell to LR only how the camera "sees" the colors, not how to display or print them.

Once you have it, and you have the correct paper/ink ICC profile, the pattern print may be used for fine tuning for a given image if you don't like the "standard" results.

BenKing said:

Anyone have any thoughts on my proposed method?

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What would be the benefit compared to a standard color management workflow based on ICC profiles? A basic calibration device is not expensive (latest deal seen on this site had them at less than $100/150). Even without an AdobeRGB monitor it will lead to good results without wasting much paper and ink - repaying themselves quickly.

markhbfindlay said:

I'm intrigued that you get pictures of snowdrops in April. Where are you? They finished in February here in southern England.

Nice pics; full of envy over the ospreys; we don't get them here, only in Scotland and a few parts of northern England.

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Those are in Vermont. They were the last of the snowdrops. Not so far off from normal timing here.