Posts

dslrdummy · Feb 16, 2016

I hope 20mp is enough because I've just sold my 5Diii and am in the process of getting rid of the 7Dii for a 1DXii. I shoot sports (on big fields) and wildlife and usually crop so it could be touch and go. But I reckon it will be worth it for the speed and AF in AI servo which I expect to be stellar.

msm · Feb 16, 2016

neuroanatomist said:
msm said:

neuroanatomist said:

msm said:

neuroanatomist said:

nhz said:

what I remember from reading several articles, Sony's market share plummeted in numbers because they are concentrating on high end cameras (with much higher profit per unit).

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Unit sales fell 30%. Operating income is up, though that's partly due to reduced costs and inventory.

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Really?

Sales decreased 5.0% year-on-year (a 5% decrease on a constant currency basis) to 191.9 billion yen (1,599 million U.S. dollars). This decrease was primarily due to decreases in unit sales of video cameras and digital cameras* reflecting a contraction of the market, partially offset by an improvement in the product mix of digital cameras reflecting a shift to high value - added models.

Operating income increased 4.0 billion yen year-on-year to 23.7 billion yen (197 million U.S. dollars). This increase was mainly due to the improvement in the product mix of digital cameras and cost reductions, partially offset by the impact of the above-mentioned decrease in sales. During the current quarter, there was a 2.3billion yen negative impact from foreign exchange rate fluctuations.

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See screenshot below from the Q315 earnings presentation. Do you not understand the meaning of unit sales? Or was the math hard? 2.6 – 1.8 = 0.8, 0.8 ÷ 2.6 = 0.3077 x 100 = 30.8% reduction. Note that your pasted text also mentions the cost reductions as a main reason, which supports my statement that the increased operating income is, "...partly due to reduced costs."

So, yes...really.

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Never said your claim was false. It was about how you rather conveniently pull stuff totally out of context ignoring certain facts to produce posts which gives a totally false impression of reality.

You are the Canon cheerleader version of Dilbert, you are just as bad. Neuroland is just as far from reality as Dilbert land. He isn't as big a hippocrite as you though.

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Really? Just like I never said you couldn't perform simple math.

The context was in the quote to which I responded, sorry you don't understand that discussing unit sales in the context of 'plummeting market share' and mentioning some caveats associated with Sony's strategy from their own documentation is completely in context.

Come back when dilbert can string two correct facts together without an egregious blunder... :

Yeah, and somehow those caveats are worth mentioning but not the fact that Sony only has a 5% reduction of sales (probably better than the market and certainly better than Canon's -13.4%) and a 20% increase of profit as a result of that strategy.

nhz · Feb 16, 2016

K said:
mkabi said:

K said:

4K? Who cares. 4K is one of those things....it just isn't worth it unless it is done right. And to do it right is rare these days and expensive. Otherwise, 4K is just a token spec for marketing and publicity.

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Spoken like a person that doesn't care for video features in his/her DSLR, right?
I mean... nobody will buy 4K DSLRs, what the hell were they thinking with the 1DX2?
:

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Nikon's implementation of 4K downright sucks. 4K is about ultimate quality. If it isn't done right, then there's no point to it. Proper 4K video capability right now is the territory of Canon flagships. Not Nikon cameras, or Canon enthusiast/consumer cameras.

Could Canon put 4K in the 80D? Yes. Would it be worthy? No.

I'd have to agree with others, the 80D just has to make sure it can compete (or surpass) with the Nikon D5500 and D7200. That means connectivity and other consumer interested features. Doubt 4K is high up on the list of consumer demand for DSLR video making....

Agree that the 4K on D500 doesn't look attractive, except maybe for wildlife video where the crop factor might be an advantage. But the 80D apparently skips 4K completely..., for that you have to buy the 90D in 2 years or the more expensive 5D4 end of this year ;-)

fentiger · Feb 16, 2016

great review, these are the kind of write ups that make people who are sitting on the fence fall off and set fire to there wallet, I'm trying to resist until the 5d mk4 is announced, but being sucked to a 1dx2

Chaitanya · Feb 16, 2016

http://digicame-info.com/2016/02/g7x-mark-iisx720-hs.html

powershot2012 · Feb 15, 2016

Good choice. I looked at the G1X II and my gosh is that thing slow. Actually, for a Canon, like the G3x, G5x, G7x, and G9x, it's the norm. Size, EVF, and performance makes the RX100 III a top pick.

candc said:
Not sure what your intended use is but I have a Sony rx100iii. Its a very nice camera to take along fishing or other non-photography outings. The pop up evf is very handy at times. There are some good deals on them now at camera Canada (especially if you live in the u.s)

Zouk · Feb 15, 2016

neuroanatomist said:
The standard N3 remote port is there, but it's been moved to the other side, under the rubber cover just above the on/off switch for the vertical grip.

...good catch, can't believe I didn't notice that. Thanks!

slclick · Feb 15, 2016

I had pretty bad AF issues with the 35, the dock was no help. The 24-35 is just as good as the 24-70f/4LIS and a bit better than the 24-105 in terms of AF speed and accuracy. Maybe I got a good copy, YMMV. I love this lens and it is part of my two lens creative bag, along with the 135L.

Woody · Feb 15, 2016

rrcphoto said:
when the 5D first came out - dpreview made a BIG deal of vignetting with full frame lenses. like it never happened before.

Yup. That is DPReview for you.

They kept bashing Canon for the release of 35 mm full frame digital cameras... those years when Nikon and Sony had NONE.

They only stopped after Nikon release the D3.

After that, vignetting suddenly became a useful artistic tool. No kidding.

I pointed this out several times in DPReview, until Phil Askey left.

Now, they are at it again... They are not absolutely wrong, but it's strange they'll conveniently dismiss the shortcomings of other competing brands...

3kramd5 · Feb 14, 2016

YellowJersey said:
Why are we even talking about DR in a thread about a lens?

Because it was suggested that canon should stop developing series II (and rumored III) lenses and instead put that money into sensor R&D to increase an alleged fatal deficiency in dynamic range.

As a consumer, I'd rather they prioritize resources for those items which last potentially decades (like lenses) rather than several years. I'd probably like 50% (at least) going to lenses, with the remaining 50% (at most) split among sensors, processors, flash systems, shutters, cost reduction, etc. Granted, I am not a strategy officer.

sedwards · Feb 14, 2016

Could the screw be bottoming out in the hole ? with 1/4-20 thread you should be able to get it plenty tight so it wont move .

Mt Spokane Photography · Feb 13, 2016

I do not like the KEH online interface either, but it has actually improved a lot from a few years back.

hhkd · Feb 13, 2016

I could see my self using something like this on my 60D. It's definitely overbuilt, water resistant would be good enough. I had my 24mm pancake out in San Francisco, it was way to misty and rainy to swap out for my 70-300 (non-L, of course) so I tried my best to capture this heron with the 24. The camera and lens got fairly wet but I used one of those rubber wrist band things on the lens and pushed up against the body, nothing stopped working.
Not a good shot, just one to help me remember.

Click · Feb 13, 2016

I totally agree

rfdesigner · Feb 13, 2016

WorkonSunday said:
Hi all,

I must admit i have only spent 30mins searching on google, but i will ask anyway

I understand that a 17mm TSE without shift will give 17mm on FF. And if use on aps-c i get 17x1.6=27mm eqv on FF. But thats without shifting.

On FF, if i do maximum shift horizontally on left and right, and stitch the images in post, i get a field of view around 10.5mm eqv. In theory, the shift will allow aps-c bodies to do the same. Afterall, the lens just project the same image, it's only the sensor thats determining how much of that image can be captured. However, in practice i know there may be other mechanical limitation on how much i can shift with the lens (the knob and slide wont let u go further?). So my question is, do you know if i can still get the full 10.5mm horizontal coverage if i use something like 7D2 with 17mm TSE? Thanks.

eDIT: or word it differently, if i use 7D2 with 17TSE and shift to the most far left (or right), will i see the black edge where the image circle ends? Thanks

think about it this way.

Imagine holding the lens still and moving the sensor under it. If you have a FF sensor, the sensor is moved entirely within the huge image circle of the TSE17, at no point does the sensor extend beyond the image circle.

Now relace the FF sensor for a smaller one. It's now further from the edge of the image circle so no, no black edge.. (I don't think the mirror box vignetts from very wide angles, but you can check that)

However you could now need 4 or 5 images to cover the full shift as you have a smaller sensor, and so the difference between crop and FF in terms of FOV will be reduced compared to the normal 1.6:1 ratio.

But the 10mm Wide angles zooms will get you roughly that FOV in one hit.

IMHO the three ways forward are: a 10-something EF-S zoom, the TSE17+FFcamera, or a panoramic tripod head.. which guarentees everything lines up but is much cheaper than the TSE+FF but should yield better resolution than the 10-something zoom.

It all comes down to what you are trying to do.

Also concider renting if you really aren't sure.

DanCarr · Feb 12, 2016

What's odd about this is that the image height suggests that this isn't a full frame lens. I know none of the other CN-E zoome lenses are full frame either, it's just that the range of 24-70 is typically associated with a full frame system. That range on a super 35 sensor size is decidedly less useful and "general purpose" IMO. I noted the same thing with the 70-200 CN-E patent a while back as well. You'd think they would just match the Zeiss cine 70-200 and 24-70 which do offer full frame coverage. Particularly with the new Vistavison sensor in the RED camera as well which has a much larger image circle than a super 35 lens can handle.

Maybe I'm wrong in the way I'm interpreting the "image height" in the patent? If this was a lens that covered a full frame sensor then it would truly be something for filmmakers to get excited about.

ritholtz · Feb 12, 2016

His +5ev is showing lot of promise.
http://www.dpreview.com/forums/post/57265121

scottkinfw · Feb 12, 2016

Welcome to a great camera.

I find that a combination of the histogram primarily with the highlight alert settings are more than adequate.

If you want hacks for zebra stripes and other items look at magic lantern.

sek

Dholai · Feb 11, 2016

Got it - it is gone !
Thanks everybody and thanks Neuro.
What would I do without you guys!

jhpeterson · Feb 11, 2016

Mogens Hansen said:
Not to encourage anybody to expose their equipment to salt water, I do have experience in that.
I have been photographing yacht racing for many years using Canon 1D series bodies (1D mkII, 1Ds mkII, two 1Ds mkIII and two 1DX). I have mostly been using the Canon 100-400/4.5-5.6L IS (mkI), which is not (fully) weather sealed, but also 70-200/2.8L IS (mkI) and 70-200/2.8L IS mkII which are weather sealed. When possible I do use UV filters to protect the lenses.
I do try to protect the equipment from water, but sometimes it will be hit by a wave.
Everyday when I get onshore, I wipe all equipment with a damp, clean dishtowel.
I have never had a single failure so far.

One of the events I photographed in 2015 was the World Championship for the Olympic Nacra 17 class (https://www.flickr.com/photos/sailingaarhus/sets/72157655427692796). It was photographed using two 1DX primarily with 300/2.8L IS (mkI) and 100-400/4.5-5.6L IS mkII on the race course.
The weather was quite bad during most of the event. When it was worst I used the Thinktank Hydrophobia rain covers (like https://www.flickr.com/photos/sailingaarhus/18897745314/in/album-72157655427692796/ - at this point the wind was to strong even for these world class athletes). Although the Hydrophobias are excellent, it does make it even harder to photograph these extremely fast boats.
During the final, very intense medalrace, the wind was close to the max limit (https://www.flickr.com/photos/sailingaarhus/19574966062/in/album-72157655427692796/ - the French coaches are cheering as their team approaches the finishing line as World Champions). I had a driver for my RIB boat who could cover me a little. So I chose not to use the raincover, to be able to work faster. But the 1DX with the 100-400/4.5-5.6L IS mkII was soaked in saltwater multiple time (and I dried it with a dishtowel) - the equipment worked absolutely flawless and still does.
By using 2 bodies, I dont have to switch lens - I switch camera. In general I only use one camera at the time.

That's the reason why I, and many yacht photographers, use 1D series bodies.

+1
Having been a yachting photographer for a few decades as well, I fully agree with the above poster.
There's no such thing as a waterproof camera, at least for the way we work. I find myself using a 300/2.8 more than any other and typically complement it with both a 70-200/2.8 and a 500/4. An underwater housing for such long lenses not only would be expensive and impractical, but unwieldy to the point we'd seldom be able to get usable photos.
All I can do is minimize the happening of disasters and mitigate the damage when, not if, it occurs. For that reason I stick to 1D series cameras and weather-sealed "L" glass. A wipedown of every piece of gear with a cloth dampened with fresh water then dried with a towel is mandatory after getting ashore.
I've use raincovers when the seas were the worst. While they slow down my work, they do provide one more level of protection, which may mean my gear keeps working in conditions where it may not have otherwise. Perhaps it even lives to see another day.

TeT · Feb 11, 2016

Yes it is, only saw the Big White, guess Canon kept a good running kit for him...

He took some nice shots....

neonlight · Feb 11, 2016

Surely some mistake? MOre likely EF-M?

privatebydesign · Feb 11, 2016

You can see the refection of the setup in the distance window, it is a simple white box, like the cheap 'product' things you get on eBay and the like.

Lamp on image right slightly closer than the one image left, with an open front.

Luds34 · Feb 11, 2016

On the 70-200 front, you might consider the f/2.8 non-IS. Used, that can be found within your budget. Since you are shooting sports the IS will be useless.

I echo what others have said, AI Servo means one should probably stick to native Canon glass.

Maiaibing · Feb 11, 2016

cpsico said:
BigAntTVProductions said:

rfdesigner said:

I've measured the noise and gain, and lo and behold it seems to be a fraction of a stop better than published data suggesting I got lucky.

What I have noticed is the "blinkies" seem to be a little over nervous.. i.e. it claims to be clipping maybe as much as 1/3rd of a stop before it really does so. Ideally I'd like it to actually tell me the exact point of clipping. I'm shooting RAW + Ljpeg at the moment

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here's some help if u can take it back and get 5d3 lol

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Lol only for autofocus the 6d has better dynamic range and IQ

Not only this. Not less of a basic problem with the 5DIII and with autofocus the difference goes both ways as the 6D is somewhat better with low light (using the center point). Disappointing 5DIII autofocus in the dark was my main reason for keeping my 5DII's instead if getting the 5DIII.

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