Posts

niels123 · Dec 2, 2015

What about these receivers?

http://www.amazon.com/Godox-Wireless-Transmitter-Monolight-Speedlite/dp/B00U5U4MX6

Would they work and allow me to choose shutter speeds faster than 1/1000th?

Dec 2, 2015

Long time Canon user... and Fuji... and I've had my 645z for about 4 months. Love it but I am slogging through a sync of 1/125 which is doable but not ideal. Really have had my eye on the lighting set from Priolite which is capable of shooting to 1/4000. Not too bad a price but I've never used their gear and I don't know anyone who has used them.

Anyone here familiar with them or had any experience with the Priolite kits? Any info, real world usage would be greatly appreciated. I can read the site for my own and I'm not needing reassurance... I'm more interested in actual usage and overall quality. Especially the robustness of the actual units (they look a little cheap).

A little info... professional photographer; wedding, portrait and commercial work. Lots of onsite work in less than ideal situations (typical for client requests). I operate a studio also, so maybe about 20% in studio. No sports/action work for the Pentax, that's what the Canon's are for.

Lenses currently are the Pentax-D FA 645 55mm f/2.8 and Pentax 90mm f/2.8 D FA 645 Macro ED AW SR.

Thanks...

Rupp1 · Dec 1, 2015

RGF said:
On the lens and accessory side of things, I thing Sony is far behind Canon and Nikon, though Sony can use canon lens via the metabones adapter.

I agree about Sony being behind on lenses. Additionally, with the exception of the 55mm "Zeiss", the Sony lenses are IMHO, only so-so. Doing a test with one camera using an adapter really creates a problem for me. I don't think you can really evaluate the camera, without using its own lenses.

Although one has to appreciate the effort that went in to this review, I think it was flawed in at least two other ways. The author tests for features that are not necessarily important to someone electing to purchase some of these cameras. The Canon, specifically, is not being advertised as a good tool for catching motion, autofocusing in near dark, or doing video.I would have preferred a few people shots, fairly close up, with people in social situation motion. And perhaps more detailed still lives. I would also note that the author dislikes the basic canon color palette, which it strikes me makes little difference when working with RAW files, and which many of us prefer over Nikon in JPEGs.

Unfortunately, she may have a point about the ads-r not being ready for prime time, but the same thing applies to the other cameras she reviews. Perhaps the dream of medium format quality with 35mm speed and size is not yet here. Too bad I just ordered a 5DS-R; I guess I'll find out (but without the Otis).

ahsanford · Dec 1, 2015

dilbert said:
3kramd5 said:

...
DxO includes sensor dynamic range as a parameter in their lens scoring algorithm, and tests in a light-environment very friendly to the D800. Dollars to donuts that's the difference.
...
Also, while the aggregate score is dependent on sensor performance, the sharpness score is not.

Click to expand...

Which is why DxO have said that you should only compare lenses and their scores when tested on the same body.

Dilbert, DXO is not original with that statement. Everyone says that (and I believe everyone knows that).

But they still give an overall score and they still rank the lenses. That's ultimately what needs to stop. I'd hate them much less if they did.

- A

FEBS · Dec 1, 2015

Ok, I see the reaction of Valvebounce, and now I can imagine, why you would connect the second receiver to the camera. What I would do then is keeping the transmitter of set A in my hand, The receiver of set A connected by a jack cable to the remote control input of your camera (so the receiver of set A definitely not in the hotshoe). The transmitter of set B in the hotshoe of your camera. The receiver of set B connected to the strobe. And set A and B should be placed on different channels. This setup will avoid any lag between the strobe and camera.

Valvebounce · Nov 30, 2015

Hi dhr.
I'm looking forwards to seeing what I capture with some trepidation lest it prove I'm just not good at taking pictures! It could just be that the grain on my OOF pictures will look better!

:

;D

Cheers, Graham.

dhr90 said:
I look forward to seeing what you capture with the new camera!

Valvebounce · Nov 30, 2015

Hi zCanadia.
The 70D will give you more flexibility for framing with having the flip screen and DP AF in live view, also AFMA is helpful for shallow DOF lenses. Also focus and recompose can be a cause of focus issues if using wide apertures so the extra AF points might help with that. But the T3 (1100D) is not bad, I picked one up as a used bundle recently to separate out a lens (EF-s 10-22mm) and some accessories and sell on, I have used it a bit and it seems quite a nice bit of kit, (too small for my hands though) with a lot more custom options than I expected like back button focus.

Cheers, Graham.

surapon · Nov 30, 2015

zim said:
When I saw the crutches I thought..... This is going to be genius! ;D

Yes, Sir, Dear Friend Zim-----Ha, Ha, Ha--- That are my Crutches that I use 10 years ago, After I have Gout Illness, , But Past 10 years, I have a great doctor that Treat me with the great Medicine= No more gout Pain. And I do not need that Crutches any more---I have to get the crutches to be useful again.
Thanks you, Sir.
Surapon

Canon Rumors · Nov 30, 2015

HTML:

<p><em>Various Markets and Applications for the Canon 4K500ST include Simulation and Training, Museums and Galleries, Industrial Design and Higher Education</em></p>
<p><strong>MELVILLE, N.Y.,</strong> — Canon U.S.A., Inc., a leader in digital imaging solutions, today unveiled its REALiS 4K500ST Pro AV LCOS Projector which delivers 4K resolution of 4096 x 2400, up to 5000 lumens<sup>*</sup> and Canon’s LCOS Technology with AISYS-enhancement for brilliant, high-brightness and detailed image reproduction. The REALiS 4K500ST also offers a Genuine Canon 4K lens and a robust collection of advanced professional setting features, including Marginal Focus which helps ensure content projected on the peripheral portions of domed surfaces remains in focus.</p>
<p>At only 38.8 pounds this model also offers one of the most compact and lightweight form factors of a high brightness 4K Projector. The REALiS 4K500ST’s combination of outstanding image quality, advanced features and compact size make it ideal for applications like immersive simulation and training which require outstanding image quality but may have limited spacing.</p>
<p>“Demand for 4K projection display continues to rapidly expand in many existing and new markets, and Canon has responded by developing a unique model that combines 4K resolution and high brightness in a compact form factor,” said Yuichi Ishizuka, president and chief operating officer, Canon U.S.A., Inc. “Canon has leveraged its decades of expertise in advanced optics, image processing, and projection technologies to help the REALiS 4K500ST LCOS Projector deliver outstanding 4K image quality, versatile display features, and compact size needed to satisfy many of the requirements of today’s 4K projection professionals.”</p>
<p><strong>Advanced Optics, LCOS and Image Processing Technologies

</strong>At the core of the Canon REALiS 4K500ST projector’s highly detailed 4K resolution display capabilities and versatile performance features is the integration of advanced Canon optical, LCOS and image processing technologies.</p>
<p><strong>Optics

</strong>The 4K500ST projector comes equipped with a specially designed Genuine Canon 4K short focus wide zoom lens and throw ratio of 1.0 – 1.3:1, allowing it to project a 10 foot. wide image from an approximate distance of only 10 foot. This projection lens is the first to possess advanced spherical focus capabilities derived from Canon’s renowned L-Series EF camera lenses which is distinguished by a bold red ring around the outer barrel. The lens delivers superb performance due to such sophisticated Canon optical technologies as ultra-low dispersion (UD) glass, aspherical lens elements and super spectra multi lens coatings. Advanced Canon optical technology in the REALiS 4K500ST is also present in its next-generation AISYS (Aspectual Illumination System) Optical Engine. This unique engine helps ensure the projector delivers an ideal combination of both brightness (up to 5000 Lumens) and contrast ratio (up to 2500:1), while also helping the projector maintain a small form factor. The 4K500ST is also able to deliver a virtually consistent level of brightness throughout its zoom range thanks to the combination of the Genuine Canon 4K lens and AISYS Optical Engine.</p>
<p><strong>LCOS Technology with AISYS-enhancement

</strong>The 4K500ST is the newest member of the REALiS Projector series which all feature Canon’s LCOS (Liquid Crystal on Silicon) Technology with AISYS-enhancement. This advanced technology is renowned for delivering virtually seamless images with outstanding color reproduction, and low-latency playback for improved display of video content. In addition to offering ultra high resolution of 4096 x 2400, the REALiS 4K500ST is capable of projecting other popular 4K resolutions such as the DCI (Digital Cinema Initiative) standard of 4096 x 2160 as well as Quad Full High Definition (QFHD) of 3840 x 2160.</p>
<p><strong>Image Processing

</strong>The REALiS 4K500ST also integrates powerful dual image processing engines that execute such complex tasks as smooth reproduction of uncompressed 4K video at 60 or 30 fps, and two upscaling technology options (BiCubic and Canon’s unique Shape Trace) to optimize 2K video and other non-native 4K resolution content.</p>
<p>Advanced image adjustments on the REALiS 4K500ST also include the following optional features:</p>
<ul>
<li><em><strong>Motion Blur Reduction: </strong></em>offers three different modes (Strong, Low and Off) for improved visibility when video content movement is fast<sup>**</sup>.</li>
<li><em><strong>Dynamic Gamma:</strong></em> analyzes individual areas of an image for specific, independent contrast adjustment so light and dark areas do not appear over or under exposed.</li>
<li><em><strong>Memory Color Correction:</strong></em> enhances skin tones and other color features for rich, vivid results that look striking to the human eye.</li>
</ul>
<p>The Canon REALiS 4K500ST also offers six different pre-set image modes, as well as three customizable image modes, to help optimize quality based on content type and projection environment. The projector’s special DICOM® Simulation Mode can be ideal for displaying monochrome digital X-rays, CAT scans, and MRIs with superb grayscale gradation. This mode, which offers both clear and blue base color temperature presets, simulates the results of devices compliant with the Digital Imaging and Communications in Medicine (DICOM) Part 14 standard<sup>***</sup>.</p>
<p><strong>Ease of Installation and Maintenance

</strong>Weighing only 38.8 pounds, the Canon REALiS 4K500ST can be installed to suit a wide range of applications. Motorized Lens Shift, Zoom and Focus and a variety of other advanced professional calibration settings provide further installation versatility, including:</p>
<ul>
<li><strong><em>4-Point Keystone Correction</em></strong>: allows the corners of the image to be independently adjusted to help ensure optimal image reproduction.</li>
<li><strong><em>Built-in Edge Blending</em></strong>: enables the projection of one seamless, large image from multiple projectors without the need of special software.</li>
<li><strong><em>360-degree Vertical Installation</em></strong>: allows the projector to be positioned anywhere on the vertical axis<sup>****</sup>. Fan speed can also be adjusted to help optimize results (depending on projector positioning).</li>
<li><strong><em>Advanced Registration</em></strong>: allows independent position adjustment of the three primary colors (RGB) with high accuracy (0.1 Pixel) ultimately reducing blurred colors or lines often projected at the edge of an image.</li>
</ul>
<p><strong>Versatile Connectivity</strong>

Generous industry-standard connectivity on the Canon REALiS 4K500ST includes four DVI and two HDMI inputs supporting single, stripe and cross configurations for 4K, 2K or HD video playback. This model supports PJLink™ which makes it possible to control and monitor the projector over the network – a feature excellent for observing lamp hours, usage and more. For even more control, the REALiS 4K500ST is a Crestron Connected device and supports AMX Device Discovery.</p>
<p><strong>Price and Availability </strong>

Canon REALiS 4K500ST has a suggested list price of $54,990 and is scheduled to be available through authorized Canon dealers by April 2016. The Canon REALiS 4K500ST is backed by the Canon Three-Year Projector and Lamp Limited Warranty (120 day lamp coverage), and the Company’s award-winning Professional Service & Support which includes a Three-Year Advanced Warranty Service Exchange Program and a Service Loaner Program.</p>
<p><strong>I/ITSEC 2015 </strong>

The REALiS 4K500ST Pro AV LCOS Projector will be on display in the Canon booth #2213 at the I/ITSEC 2015 Conference from Monday November 30<sup>th</sup> – Thursday December 3<sup>rd</sup>.</p>
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dolina · Nov 30, 2015

privatebydesign said:
dolina said:

A medium format x100t uld be perfect for me. My guess is it will be priced between $3,000-5,000

Click to expand...

I think you live in a dream world. The film cameras cost close to that! Even the bargain basement 645z costs $6,995 without a lens...........

It costs more because it's an interchangeable lens camera.

Sabaki · Nov 30, 2015

I have the genuine grip and really like it.

Only thing is the joystick in portrait mode is difficult to find with the thumb sometimes but that is more than likely my fault.

privatebydesign · Nov 29, 2015

Random Orbits said:
wsmith96 said:

privatebydesign said:

Canon branded CPL's are complete garbage. I bought one once as it was the only make the store had in the thread size I needed, but it was a disaster, it scratched very easily and PL film delaminated after a while, it was, without doubt, the worst filter I have ever seen, used or owned in my entire life.

Click to expand...

It's a shame that the CPL's are junk. You would think that a company that designs lenses would put the same time and effort into their lens accessories, but I see a lot of different companies do similar things. I guess they shoot for as much margin as possible using their brand on their accessories and let the quality slide.

Click to expand...

How about the drop in CPL's on the supers? Are they only available from Canon and how is their quality?

Good point, I suspect Canon themselves actually make the drop in CPL's. I used to use one but never owned one so don't know the long term durability, but I suspect there would be no issues, I have certainly never heard of any.

candc · Nov 29, 2015

I would get the speedbooster and turn your 50 f/1.4 into a f/0.9, shazam!

That's almost as cool as what's above Mt Spokane's avatar.

[email protected] · Nov 29, 2015

I ask out of a few different elements of curiosity. One element interesting me is where this fits in relative to lens research. There has been patented research on fluid optics, allowing for lens shape to be controlled and dynamically. This isn't that, but I was curious to see if this was indeed a fluid element within a group, which it could be - despite the raw material being shown as a powder. I think Roger Cicala referred to the phase of the material being unknown in his initial blog post, and my brain keyed off of that.

The implications for a small element - fluid or otherwise - that eliminates color aberrations is that lenses can be made both better and SMALLER. Lots of elements go into correcting this stuff. When you see the new great lenses we've had coming out between Canon, Tamron, Sigma and Zeiss, the sizes and weights have been increasing at a rapid clip.

Whether this is a technology that is generally applicable is the biggest question I have in my mind. And how that is applied will have implications on the need for many design compromises that have been generally accepted to date. When lens designers needn't worry about the different spectra of light hitting different places, I'd imagine there are lots of other issues that they can be freed to focus on. Interestingly, the new Canon 35 II didn't really show any weight savings versus its competition.

I have the idea that knowing more about the Blue Goo would allow me to get excited about what those other improvements will be over time.

Mt Spokane Photography · Nov 27, 2015

Europe, USA, etc prices are somewhat driven by the value of local currency versus the Japanese Yen.

The Euro has been consistently dropping versus the Yen while the US Dollar has been rising. That explains some of the price increase. Canon seems to extract more profit from European sales as well.

StudentOfLight · Nov 26, 2015

Re: Canon USA Inc, Suing Get It Digital LLC & Others Over Grey Market Sales

joejohnbear said:
StudentOfLight said:

This is a problem of globalization. There are differences in sales, marketing, distribution and technical costs from region to region. Does SP&A in the US cost the same as SP&A in Malaysia for example? Does technical staff cost the same in Europe as in South Africa? The answer if you were unsure is no they cost more in first world countries because salaries are higher in first world countries. Sales need to sustain these higher salaries.

In order for a business to budget effectively for sales, marketing, distribution, technical support etc... activities in a particular region they need to forecast sales per region and set pricing accordingly. If sales are leaking into a region from unauthorized channels then they are not paying for the sustainability of the required support and services in a region, some of which is needed to ensure products meet local government regulations (e.g. labels, safety regulations, environmental policies etc...)

Click to expand...

Add to that currency fluctuations, no?

Yes definitely. Here in South Africa our local currency has lost more than 25% of it's value to the USD in the past 12 months. Our prices went up as a result.

rs · Nov 26, 2015

UK now:

http://www.amateurphotographer.co.uk/latest/photo-news/samsung-to-axe-digital-cameras-and-camcorders-sales-in-uk-66286

rfdesigner · Nov 26, 2015

unfocused said:
AvTvM said:

Whatever can be done so much better without moving parts, should be done so. I really want a solid state camera.

Click to expand...

Not to get too far off topic. But by the same reasoning, one could say that whatever can be done by simple physics (light reflected by a mirror) should be done so. After all, physics is a lot more reliable and durable than solid state electronics.

+1

I spend all day playing with antennas, radio silicon, processors, embedded code and so on.

When it works it's brilliant

When it goes wrong it's a nightmare... and it never gives you a heads up it's about to fail, which is the huge problem I have with electronics.

My old unreliable 1984 vauxhall cavalier never left me stranded as every fault gave me plenty of notice... since '99 I've only driven mercs... I've been left stranded 3 times becasue things have gone totally and utterly wrong without notice... all three times (in about 500k miles) it was electrical faults, or faults masked by electronics until it couldn't be masked any more.

I adore purely mechanical solutions to problems.

kaswindell · Nov 26, 2015

I picked up a Pixma Pro-100/paper combo about a year ago knowing full well that the reason that the printer was practically free was to get me to but more ink and paper in the future. I delayed setting it up for many months, until I was finally fed up with the results and cost of printing at the local photo shop. Thus far I have been happy with it.

Zeidora · Nov 26, 2015

Here's a comparison of fringes on flowers with 180 M and Zeiss 100 M
http://www.canonrumors.com/forum/index.php?topic=25228.msg502825#msg502825
scroll down a bit to see the comparison images. Those images were shot on a 5D2, so on a 5DsR the problems will be MUCH more pronounced.

wtlloyd · Nov 26, 2015

neuroanatomist said:
YuengLinger said:

Despite the article's flaws, we get to see the mainstream doesn't always agree with us CR fan boys.

Click to expand...

Given that Canon has been for over a decade and still remains the market leader, I'd say rather that one WSJ writer/editor doesn't agree with the mainstream.

It's just another Murdoch-owned rag. How long before it sports Page 3 girls? Enjoy your Corporate right wing news, folks!

Maximilian · Nov 26, 2015

jrista said:
Rumor mill has been pretty slow on the DSLR front lately. I don't really care about specs so much, however I am very interested in a release date. My 5D III is LOOOONG in the tooth, and all the extensive hours I've used it for astrophotography, it's taken quite a few cosmic ray hits and has often operated at pretty high temperatures. That's increased hot pixel counts and it seems to be a bit noisier on average than before. Really need to get a replacement for it soon, and since I'm tethered to an EF 600mm f/4 L II, I really need a quality Canon camera with good frame rate and high resolution to replace it with.

Hi Jon!

A little bit OT but did you let Canon do a recalibration of the sensor?
I don't know if that works for you and your astro shooting.
But I've recognized after some time of "normal" shooting an increase of red/hot pixels.
After sending it in and recalibration they were gone. So that worked for me.
Of course my exposure times get only up to several seconds but not as long as yours.
And of course a new camera is always better

jrista · Nov 25, 2015

privatebydesign said:
Mt Spokane Photography said:

midluk said:

I can't see moire at 100%. The moire is a problem of the downsampling process for reduced size preview. Nothing an AA filter on the sensor will change.

Click to expand...

Moire is explained by the Nyquist Theorem. Removing the AA filter just means you need to limit high frequencies in a image in a different way.

Digital cameras use a combination of a physical AA filter as well as a digital AA filter. As you get more pixels, the Nyquist frequency rises, so you can use less filtering to get needed detail.

Click to expand...

Yes, but that doesn't alter the fact that there is no moire in this image at 100%, therefore it is not sensor/AA filter induced moire. The moire visible in the smaller versions is, as midluk said, produced by the resampling process, not the initial capture.

There IS false coloring on the full size version, though. I suspect that is a side effect of the same problem that causes moire.

Thing is, if you do have issues with moire, you can always defocus ever so slightly. It only happens when the frequency of the object being imaged is similar to the frequency of the sensor pixel matrix as focused at the image plane.

TWI by Dustin Abbott · Nov 25, 2015

privatebydesign said:
takesome1 said:

privatebydesign said:

DJI didn't choose red and green. Just go look at any boat, plane, helicopter etc etc..........

Click to expand...

But they did choose white, I guess they did that for stealth against a bright sky.

Click to expand...

Ever try to find a landed drone on pretty much any ground? White shows up best. So then the next question, why not white on the top and something darker on the bottom? Because when you lose them they often land wrong way up!

But if you asked me for a solution, I'd have it like a search and rescue vehicle, white with orange stripes, easy to see from top and bottom and against light and dark.

In all fairness, they do include a number of brightly color decals that can be applied to make them show up more easily. I didn't apply them to the tester because it was being returned after my review.

addola · Nov 25, 2015

Zv said:
addola said:

I have Canon 6D...

I love: Image quality, good high ISO performance, GPS & Wifi built-in comes in handy when I want to geotag & remotely trigger the camera with the phone.

Hate: AF is only 11-points and only center one is cross-type., no button for white balance (have to go through menus to do it)

Overall, it's a great purchase. But Canon should update it already!

Click to expand...

If you shoot RAW do you really need a WB button? I can see why Canon decided to leave that one out now and one press of the Q button takes you into the menu where WB can easily be changed. I usually set WB before a shoot so changing it mid shoot isn't a priority. Also, I figure that Canon's Auto WB algorithms must be getting better as some people can just leave it there.

What would be nice is if the top LCD displayed what WB mode it was in.

How about the rest of you guys? Is no WB button an issue for you?

WB button is not necessary at all since I shoot RAW as you said. It's just a force of habit that I want to see the photos appearing (as much as they should) on the back. It would have been nice to see the setting on the top LCD (like the 5D3 or my old 30D).

I love to walk around and shoot. I sometimes do it while "bar hopping". Sometimes walk inside a store where the lighting is different than the outside. That's why I keep adjusting it.

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