In the credits at the end they note that "All focus transition is performed by Movie Servo AF." I'd say it does a pretty good job of focus "racking" even without dual pixel AF. I have a 70D and it does a great job with focus racking as well but this new Rebel does a heck of a lot better than my old T1i did with contrast AF.

It looks like even though it doesn't have the "latest and greatest" video features (4K, etc.) you can still shoot a great video with this camera. It makes me want to go shoot something with my 70D.

The 50L is oh so wonderful... after you really begin to master it.

Similar to the 85L, the 50L can be a little tricky to really get down, but it is a wonderful little beauty. Also, when you do upgrade to a ff, the 50L is still a great focal length to have in your arsenal.

I would agree with other suggestions for a zoom (24-70, 70-200, etc), but for low light, I only use primes. The image quality, speed, and overall appearance of the final image are so much greater when using primes with very low light.

My recommendation would be to use canonpricewatch and find the best deal you possibly can for the 50L.

Cheers!
-Tabor

I slice of liver is better. Liver regenerates whereas the lost kidney will never grow back.
Not like in 'Silence of Lambs' of course but as a transplant.

What is not funny is that an Egyptian father sold his daughter's kidney to get a new car.
He got caught. How many are there who don't...

Column row sensor readout being assigned to certain processors could in theory deliver this as long as the firmware was sophisticated enough. Dual or Quad processing is becoming more common and turning pixels on / off in sequence is something that Ive read in papers. Fuji / Panasonic are working on organic sensors with layers this has the possibility to extend dynamic range.
Complex subject with many aspects.

If that coffee had milk in it then thats it. Milk congeals when it dries especially in small places, coffee solids also congeal so I think the worst damage is likely from the coffee.
Ive had light misty rain on my 6D but Im using sealed L lenses and its been fine. Heavier rain the camera goes back in the bag it is simply not worth the risk. Rain covers only really work in lighter rain heavy rain In my experience finds a way in.

Hillsilly said:

skoobey said:

That is probably a Canon image. Notice the overall lack of contrast. Nikon likes to saturate it a bit and pump things up with contrast.

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To me, the image looks fine - I don't think I'd want to add more contrast. That's probably why I prefer Canon.

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It almost reads like he's using saturate and contrast interchangeably. I agree that the image looked fine. I am a canon user so there could be biase there. I will give him that he did call what camera it came from but then again he had a 50/50 chance.

For my landscape buddies who don't mind doing manual focus, etc.

Thoughts?

Mike

In case anyone else searches the forum about Photorama in the future, I will give my opinion of the show.

Summary: Not worth going to unless you are into film.

I paid $6 to get in. The show was in a conference room at a Holiday Inn. The room was maybe 40ft x 50ft. There were tables around the perimeter and in the center. Cameras and lenses were behind plexiglass panels. There were antique-looking film cameras, some rangefinder-style cameras, a few EOS-style film DSLRs. I know next to nothing about film, so forgive my poor camera vocabulary.

The camera bags interested me a little. There were used camera bags for $20, but on closer inspection were quite used and some had a smell. One pocket of a bag had plastic pieces of something and dirty crud in it. If I were selling a bag, I'd make sure it was clean. I was tempted to buy one bag, but as someone who is a neat freak when it comes to his gear, I realized I would rather spend a lot more money and get a clean bag.

There were some Canon FD mount lenses. Some well-used tripods. Bins filled with all kinds of filters. So many filters. A lot of Tiffens and store-brand filters. The store-brand UV filters on one seller's table were $10 for 52mm size, so not exactly a great deal. I saw dirty worn camera straps that should be thrown away. Assorted film paraphernalia I didn't recognize because I don't shoot film and am too young to have used it in the past. My hands felt dirty after pawing through the boxes of stuff.

One guy drove down from the Milwaukee area (about 90 minutes away) and bought something. I'm glad I only drove 30 minutes. I guess if you're into film and old cameras, these shows may be worthwhile. Some stuff seemed useful or collectable, but there was also a lot of junk that I can't imagine anyone ever buying.

There was a KEH rep on-site to buy gear. An email from KEH was how I found out about the show. I didn't have any gear to sell, though.

Now I know these shows aren't worth my time. I shoot digital and expect used gear to be clean. I'll stick to eBay, Craigslist, KEH, and B&H for used stuff. I can see why these shows are getting smaller and dying.

Sporgon said:

Wow.

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... and thus Nimoy has proven: "It ain't over 'till the fat lady sings".

martti said:

Still, I have a bit of a hard time looking at a curve where there is no mention of the methods how it was got.

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It's data from DxO, and general opinion is that their pure *measurements* are just fine, other than the *aggregated* variables and the interpretations of them (which favor Sonikon).

martti said:

Personally, I have noticed that a monopod makes the pictures sharper no matter what lense I am using when shooting in available light inside. Which sort of lines up with your experience, doesn't it.

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Yes, imho the shutter speed or other means of camera shake reduction is *hugely* underestimated. IS helps to get "good" pictures, but it cannot compensate fast enough if you re-frame so you get more sharpness at 100% crop with other means like a clumsy monopod.

gregorywood said:

I'm planning to sell off in phases so that I won't be missing anything. I'll start by shedding the 70-200mm f/4 IS, the 100mm f/2.8L macro and the 50mm f/1.4 (the canon - I bought the sigma and I'll keep it, for now). That gets me enough money to buy the 70-200mm f/2.8 II. I won't miss the macro as its a duplicate focal length and aperture at this point and I don't really shoot much macro stuff anyway. From there, is sell the 17-40mm and the 24-105 and buy the 16-35mm f/4 IS. Lastly, I'd sell the 70-300mm L for a 24-70mm, but only if I felt I really was missing a short zoom. If not, I'd sell it and buy a 1.4x or 2x teleconverter and put the rest in the bank.

For now, I'll keep the two sigmas - 50mm f/1.4 and 85mm f/1.4, along with the 35mm f/2 IS and 15mm FE.

Thanks for taking the time to give a thoughtful response.

Greg

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FWIW I reckon you've made the right call keeping those primes, at least until you have changed over the other lenses and you get a chance to see what you think from first-hand experience. I've been trying to cut down and simplify my kit for a while now (a year or two), and while I've reduced the number of lenses I own I'm finding the number is still bouncing up and down a bit. I was favouring good zooms and small/light primes, but I have to say I've been missing having a fast prime or two - so much so that when I saw a good deal on a second-hand Sigma 85 1.4 EX plus Sigma 50 1.4 EX recently I decided to grab them. Will test them out for a while and decide whether to keep the S85 or my old Canon 85 1.8, and whether to keep the S50 1.4 (likely to replace my 40 2.8). Anyway, I would agree with your thinking that keeping a couple of fast primes at the shorter focal lengths for indoor/low light and shallow DOF use is a good idea, since the times when you would use them are likely to be times when zooming with your feet is a practical option.

Yes, it very much came across as a mini space race! Amazing what a perceived competition will drive a company to pursue.

Mind you both Nikon and Canon had a long history with the 1200mm focal length going back to the 70's, now that was an interesting solution for long tele lenses, same focusing unit just different attachments for the front. However they were both lowly 1200mm f11's so the FD 1200 f5.6 brought a huge quality upgrade and started that ball rolling, and, as the article points out, we have benefited from the advanced tech used and developed in that race in todays super teles.

StudentOfLight said:

My guess is three new 4K-capable ENG cameras:
XA30, Entry-level option
XF-200, Indie news/film
XF-400, Mainstream news

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More likely a "XA30" this year, with "XF" models being released the following year. The internal parts of the current XA and XF are the same, the only difference are the external bells and whistles, and some functions in firmware. That would fit with Canon's general strategy of doing incremental upgrades every year.

New 4K cameras at NAB IMO will probably be a "high" and "low" end (relatively speaking, both will cost $5K+) cinema-EOS cameras. I expect there will be a "XA30" and a "G40" (same camera, one with a handle, the other without, with price tags of $3K and $2K respectively). Perhaps a 1DX II (again, many $$$).

That would be approximately four 4K cameras, and fit with some of the rumors we have been hearing.

Dylan777 said:

Highly recommend this one: http://www.bhphotovideo.com/c/product/756818-REG/B_W_66_1066111_77mm_XS_Pro_NANO_Clear.html

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My suggestion as well, that one in particular is amazing for this lens.

There is only one real time when filters cause a noticeable artifact that is often difficult to remove: shooting into a bright light source. This will cause additional flare you would see much less of without the filter.

However, filters complete the weathersealing on the 16-35 f/4L and offer protection to the front element. Yes the front element is durable. Yes, the front element part is often affordable. But service charges can be expensive, and as the OP noted cleaning a filter like the one linked is much easier in the field than the lens itself. You can even clean it with your shirt as if it gets scratched you can simply replace it. You can worry less about the front element & environmental hazards with a filter, and instead focus on shooting the picture.

As long as you take the filter off when shooting into a bright light source (i.e. sun & moon at night), there is really not much of note that you lose quality-wise with a good filter.

Re: Canon EOS 5DS & EOS 5DS R Samples By George Lepp

mackguyver said:

Marsu42 said:

and certainly no Magic Lantern dual_iso.

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If it's *not* a a 1D, doesn't that leave the door open to your pals at Magic Lantern to play with the new 5Ds/R?

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There are reasons which make it unlikely there will be a 5ds-ML, even though it might not be included in Canon's unofficial "don't touch the 1d" policy

* afaik ML's lead dev (the team consists of ~2 people) thinks that the 5d3 is the most expensive body they'll support, as ML isn't there to make lowly Rebels and enthusiast's models better despite of Canon's crippling and conservatism.

* they have too camera bodies on their hands as it is, even the 6d is semi-maintainted "blindly", the 70d port is crawling and the sl1 port is hit for six. All Canon cameras are kind of similar, but the devil is in the details generating a hilarious amount of work.

* they'd need have constant access to a 5dsr, so people would need to donate one. This is kind of risky, the last person who got a free 70d was never heard from again, but is probably enjoying his new camera :->

Btw ML imho is nearly dead in the water right now, the main dev hasn't had much time lately and all new features are stuck in repo branches for ages w/o making it to the official nightly. This means that essentially, you'll have to compile ML yourself atm after merging these branches to get newer features like enhanced dr, silent pix, 20bit dual_iso processing and just about everything that's been developed in the last 2 years: https://bitbucket.org/hudson/magic-lantern/commits/all

My guess is that from the newer models, the 5d3 will end be "the" supported model for a long time to come, long after a 5d4 or 5ds release.

Same with mine

FEBS said:

RGF said:

Macro - call it a tie (perhap edge to Nikon).

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But don't forget the magical MP-E 65mm f/2.8 1-5x Macro

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point taken. Canon wins, hand down, on selection lenses.

I'd rather a 500 5.6 in the 2-3K price range. The only native option for 500mm is the 500 f4 which most have to sell a kidney for.

Hi Marsu.
I thought you would be there to catch me if I slipped up! Glad I got that much correct.

Cheers, Graham.

Marsu42 said:

Valvebounce said:

No expert on ML, but as far as I know the camera boot is interrupted and diverted to load ML from the card, I believe you can boot without ML if you put a clean card in.

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Correct, you can also boot w/o ML at any time simply by pressing a designated key (varies between camera models, usually SET).

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I posted some shots of the 2xTCIII on the 100-400mm II on the 7DII in another thread. The resolution was incredible.

http://www.canonrumors.com/forum/index.php?topic=24599.msg484761#msg484761

Zeidora said:

Danski: Interesting! Does the Mamiya lens have auto-aperture on a Canon body, or do you have to use working aperture with dark view finder? Working aperture is OK for tripod work, but is a non-starter for hand-held. I had a Zeiss MP 100 C/Y (going to 1:1), but replaced it with the ZE version for automatic aperture, which is critical for me. Overall, I'd prefer a lens that goes straight to 1:1, so now have to use extension tubes. The f/2 of the MP ZE is not that useful; I hardly ever shoot that open.

I somewhat doubt that a Mamyia lens on a Canon body will have auto-aperture. There are also Zeiss 100 mm C/Y lenses on the market, and those are also about half of a new ZE, and I bet they are smaller/lighter, if you are willing to accept working aperture plus adapter.

Not sure I agree with your vignetting point. It is reduced by closing aperture, so an f/4 lens will have less wide open compared to a f/2 all open of same collecting angle or focal length. The vignetting/light fall-off/relative illuminance[Zeiss term on their datasheets] of an f/2 lens at f/4 will the very similar to a f/4 lens at f/4 of same focal length. [that's the reason you use center filters on LF WA, and those are usually optimized for an intermediate apertures]. The 20 mm more on the Mamyia will reduce it by a hair, but once you close f-stop to f/8 or more, as is common in macro, you won't notice any difference any more.

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Zeidora-

The Mamiya 120 "A" is 100% manual on a Canon camera.

I have used it mostly in live view. I now have a Fotodiox adapter with focus confirmation, so that should help with eyeballing things.

The focus throw is quite generous and I have found it relatively easy to dial in through the viewfinder.

The Mamiya lens is made for medium format, so it has a larger image circle than a 35mm lens, with the possible exception of the Canon tilt-shift lenses. Any viginetting apparent on the 645 camera should be mostly cut off on a 35mm sensor.

There are numerous anecdotes about "medium format lens rendering" compared to "35mm format lens rendering". This Mamiya 120 lens has very good reviews/feedback wherever you choose to search about it.

The price is quite reasonable, depending on how long you want to look for one.

I suppose that the one drawback is the lack of a tripod collar. Some have used 3rd party collars and spacers (tape) to take up the slack.

Thinking outside the box, you could probably get an EOS M + 11-22 within your budget. You could carry that along with your full frame kit, or by itself when you wanted to travel light. I'd bet that in most situations the IQ would match that of your 6D plus any full frame ultra wide you could buy for the same price.

http://cpn.canon-europe.com/content/yourspace/newsletter/newsletter_march_2_15.do?utm_source=newsletter_march_2_15&utm_medium=email&utm_campaign=Newsletter

Thanks both I will try this. I have not been in here in a week or two. Using my time with my new Rolleiflex and Kiev 60

Normally, I do not 'love' mechanical objects but the EF 85mm L is an exception.
Thank you for posting your experience with the Sony FF. I won't go that way...another FF Canon body, maybe.