TWI by Dustin Abbott said:

This is awesome to read. I've updated my review with this information and linkage to the article. Roger's work is invaluable because, unlike we lens reviewers, he has intimate knowledge of what works in internal construction. The photography world is a better place because of him

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Here HERE! I second that thought...Roger and his team have furthered my knowledge of photography in ways that always surprise me....and all that from a guy who has been known to wear a lens case on his head as a hat. Ya have to love it!

The screen can be changed on the 7DII: you can see the clip in the mirror box that locks the screen + tray into place.

Hi everyone,

Lately I've been in love with the 35mm f/2 IS USM. The lens is just a joy to use and delivers flawless performance.
I've been using it for the last months and cannot get it off my 6D!
You can find my review here:
http://ruicarv.wix.com/ruicarphotolover#!canon-35-f2-is-usm/c1n3k
Hope you find it useful!

Regards,
Rui

AcutancePhotography said:

Tinky said:

Canon will make far more money selling the top end kit to wealthy hobbyists than they will to professionals.

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I think there is a lot of truth in that statement. Professionals buy tools that are good enough, reliable enough, cheap enough, ... enough, to be able to make a profit. Enthusiasts, not being concerned with profitability, can afford the "bestest and latest".

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Agreed with the above, but......

I make a living from Photography, and although the new 5Ds is rather steep for me, and I probably wont get my money back quickly, I would get it nevertheless..why?

Because its just such a lot of pixels that as a photographer I have to have it, just to see what the image quality is like. I find a lot of photography 'ignorant' clients often ask me how many pixels my camera has...and they usually raise their eyebrows when I mention (just) 20mp, imagine the reaction when I say 50mp's! I know its silly but one has to at least try and have a better camera than the client!

I also have a 44inch printer and frankly my 6d is just not up to the task with more detailed images like distant landscapes and industrial/architecture. Jaggies are quite visible. Clients like it a lot when I drop off a 'free' print of the shoot, and the bigger the better and extra pixels can only help...

For my personal stuff which is mostly documentary architecture I could see the extra detail will be great especially on large prints!

Its a lot cheaper than med format digital. Sure it wont have the same image quality but it will be a lot more than is currently available in 35mm, specially from Canon..I also just don't like having too many different systems...so if it can all be Canon, great.

50mp is not just for printing very large but also for making smaller prints look better...there was a reason many 'old' 8x10 negs were only contact printed...

The fact that it has dumbed down video and no dual pixel af is ok by me...its that sensor that I want.

The price seems reasonable for the pixels. One reason I wasn't keen to get the 5D3 is that I could get the same pixels in the 6D for a lot less...

I also like the fact that they have made an effort with the mirror. My Mamiya digital med format shutter slap is alarmingly loud and definitely affects my image quality on longer lenses at slower shutter speeds.

So, I am very excited about the new nifty fifty...and I look forward to pairing that with one of the smallest and cheapest lenses available...the 40mm pancake. But also with my 24TS..should make a fantastic architecture/interior/industrial combination.

The only thing I will miss terribly is GPS and wifi....but I can see using a camera like that for at least 4years. Thats how long I had my 5d2. 6D is now about 14months old and I just love it..only thing I wish it had was a few more pixels.

Jon, I was hoping that you would take a stab at this... I am a believer now.

Marsu, as always helpful, thanks everyone.

So far, I did not buy one for my 1G MK II. Most of my photos are indoors where the LCD works ok. When out in sunny weather, its near impossible to accurately frame a image, so its bound to make a big difference.

I may yet buy one, but I mostly use my DSLR in sunny weather outdoors.

Hi Folks.
Thought I would find this for you guys as it seems to be where you are heading, a bit off topic! ;D Not saying anyone is right or wrong.
http://www.cctvcore.co.uk/forums/

Cheers, Graham.

Mt Spokane Photography said:

TAF said:

Canon as a company seems to have no corporate memory. A pellicle mirror would eliminate the moving mass entirely, and Canon made and sold them 40 years ago. Surely they could reintroduce them, and perhaps improve them as well.

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Whose memory is failing

Canon has made several Pellical mirror cameras over the years. Some were limited editions, but two or three models were mass produced. None of them caught on.

First came the Pellix, then the Pellix QL, then the limited production F1-HS, then the EOS RT, and finally the EOS 1N RS. I think that they remember the failures very well.

Refresh your memory.

http://www.canon.com/camera-museum/camera/film/data/1956-1965/1965_prx.html?lang=us&categ=crn&page=1956-1965

http://www.canon.com/camera-museum/camera/film/data/1956-1965/1965_prx.html?lang=us&categ=crn&page=1956-1965

http://www.canon.com/camera-museum/camera/film/data/1976-1985/1984_nf1-hsmd.html?lang=us&categ=crn&page=1976-1985

http://www.canon.com/camera-museum/camera/film/data/1986-1990/1989_eosrt.html?lang=us&categ=crn&page=1986-1990

http://www.canon.com/camera-museum/camera/film/data/1991-1995/1995_eos-1n-rs.html

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Thank you for those links. They make my point for me...Canon clearly has done it (more than 50 years ago, my bad to think it was only 40), it was popular (quoting form the first link - "it was a popular camera."), and having used the later RT, I can state that it worked very well, thank you.

With modern fabrication technology, the limitations of that tech could be eliminated.

Although a high quality EVF might be a cheaper option these days.

I had a good experience with Bel-Air Camera Superstore in Westwood Villiage a couple of years back. They were recommended by the forum denizens at the time.

switters said:

Maximilian said:

switters said:

Unless I missed something, I didn't see any mention of a new 50mm in the announcements that will be made tomorrow. :<

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Didn't CR say that the lens was mentioned but an announcement would come some time later but not at the same time as the 5Ds and 11-24.
So it seems still everything in plan.

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Yesterday's post on CR said it will be a 50/1.8 and not a 50/1.4? That is disappointing if true.

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I was disappointed by this too. The 50 1.4 and 85mm 1.8 deserve more urgent attention that the nifty fifty!

Zeidora said:

Two uncertainties about the 5dSR:
- can focussing screens be changed? I assume it is like on 5dmkiii, but not sure. Asked Canon, and they could not tell. This is critical for MF shooters.
- Is tripod socket on battery grip also re-inforced? The battery grip screw gets loose quickly on the 5dmkII, so I put lock-tight on it. Now it is solid, but I cannot remove grip from body anymore.

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Answer to the first is No. The focusing screen is listed as fixed, which was a major turn-off for me. My prime use of the 5Ds would have been with the Zeiss primes. On the 5DIII I have a custom built S-screen from Focusing Screens (from Taiwan, 3x the price of a Canon screen, which is still pretty cheap. He ships to anywhere). And since the camera seems to be using the 5DIII housing, I hope it will fit and that I can do the work myself.

Answer to the second is probably also no, since it can use all accessories from the 5DIII, including battery grip and L-plates.

Sony RX100, 3 versions of them, bigger the Sony RX10; the Lumix LX100; Canon 1GX II; Fuji X30.

You can easily add a bit of gaussian blur in PS, but you can't remove it. If 50 MP is a bit overkill for your normal production, and you want to worry less about addressing moiré in post capture processing, then the S should be fine. If you may want to squeeze everything out of 50 MP and are prepared to fuss a bit more in PS, then go with the R. I'm in the latter group. Typical trade-off.
I'm also still using the 5dmkii (mkiii had nothing to offer for me), so I assume you output larger than say 17x20" at 360 dpi (Epson inkjet). How large? That will tell you whether/how much 50 MP is overkill.
Second, do you have lenses that can resolve the sensor? That is a MTF question.
Alternatively, you can stop down and induce diffraction blur that will be equivalent to the AA filter. I have seen f/6.7 and f/11 cited as point where diffraction will limit what the sensor can capture. Portraiture is usually shot very open, so you may run into moiré problems. Studio product shots may have wider f-stop/DOF requirements.

Hi Folks.
Just thought I'd let you all know (well those of you that didn't already know) that there is a great article from Roger at lens rentals, Canon 100-400 IS Mk II lens in bits all over his bench here..
http://www.lensrentals.com/blog/2015/02/canon-100-400-is-l-mk-ii-teardown-best-built-lens-ever
As ever a very well written piece. I'm not sure but I think he likes the build quality of this lens! : ;D

Cheers, Graham.

When did Sony become the Dark Side? I have always thought that was Nikon. Fickle fanboys

Sporgon said:

rfdesigner said:

Sporgon said:

I tried one of these lenses a while ago. Because we lock focus with an open aperture I think it has something to do with the fact this lens is so poor mid edge frame at f/1.8 it has something to do with that. I found a similar problem on the FF cameras with the far outer points.

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Thanks

Can I ask if the problem you experienced was with the 9 point AF?.. i.e. 5D classic or 5DII

(if it's the 9 point then FF or crop makes no difference, it's the same AF chip and the same offset in mm of the outer AF points)

(ps, just checked your site.. some extremely beautiful images, most impressed)

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Thanks for that, appreciated.

Yes I tried it on a 5DII, so the AF is probably identical to yours.

As a creative lens I think it has some potential; it's just that I don't see the world in shallow dof 28 mm focal length !
I found that in the centre from about f/2.8 is was really quite good. Also very low distortion. The very extreme edges ( on FF) were also good, it was just the bit in between that caused me issues. It also had a lot of CA's but that is not necessarily an issue for everyone.

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Brilliant!, so it's to be expected... fine I can live with that, thanks.

I want it as a low light people lens (kids / family shots, indoors, groups etc).. in that regard it seems well suited, it's bought me 2 full stops of light over the zoom.

Distortion & CA wise I don't worry too much, I always shoot RAW and then apply lens profiles in DPP, as I'm not a pro so I'm not shooting as much nor under any time pressures.

Nice!

Thanks for sharing

Just looked at the Canon EOS 5DS with EF85mm f/1.2L II USM - 27.42mb photo - absolutely horrid

Goldingd said:

No in camera sharpening, leave that to post processing, and preferably at or near the end of post processing.

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+1, there's no point in betraying yourself with using sharpness in the picture style. It cannot live up to the results of good post-processing and makes checking for critical focus more difficult.

I was playing around with my M lenses, and my thoughts took me to the question "why there is so weird collapsing mechanism" on my 11-22mm. So I played with it with thoughts of greatest achievable wide angle, and I found this:

1) When focus is set to infinity, it has slightly wider angle. Cool. It´s pretty normal way some lenses work.

2) When I try to collapse the lens, It goes wider. But it doesn´t let me to shoot, because something in the lens switches, and I see prompt jumping up on me (in the camera) that I should put the lens into normal shooting position.

Well, so I slowly turned the lens to the "breakpoint" where it still doesn´t ask for shooting position, took a a shot, and found it is noticably wider. It could be even wider without problems if the locking mechanism was set more "precisely".

Here is normal shot of locked mechanism - mess on my table:



And here it is in the position right before the camera will deny to shoot and prompt me to put the lens into shooting position:



If that prompt wasn´t there, It could shoot even wider, possibly without problems.

I hope there are not some wicked internal tolerances in the lens, which could cause some optical elements colision when trying to focus without locking it, but if somebody found this is not the case, I might mod that lens, bypass that switch, and get 10 or maybe even little less.

Huh, just playing...

I have the 5Dmk3 and the 7Dmk2 I would take the 7Dmk11 100-400 Mk2 and the 1.4tc when birding I use the 7Dmk2 for all sports too. I use the 5Dmk3 for portraits, landscapes and ultra wide angles

That made my day! Thanks for finding that piece.

Doing the firmware upgrade on the a6000 reminded me of the First Principle: If there is something written in French, please control its veracity by any other means available. And again, just replace the 'ne fait pas' by 'commencer par'. Translation: Replace 'do not' by 'start with'. And then you get the firmware update. The point is, you have to patch the firmware installer to be able to install the firmware. It would be easy if they did not tell their clients the exact opposite.

The Metabones upgrade was easier. One needs a bit of agility to be able to push a button while inserting the USB contact.

Now I will probably find out that the old EF lenses are doing OK with the a 6000.
Only tested the 35mm L thus far. It sort of does autofocus but not in a useful way.
Manual focus good, picture quality excellent.

An interesting article on an new sensor: "to double the light-input surface area of each pixel"

Organic-on-silicon complementary metal–oxide–semiconductor colour image sensors
http://www.nature.com/srep/2015/150112/srep07708/pdf/srep07708.pdf

The name XC10 suggest to me that it will simply be a 4K version of the XA10 series of prosumer camcorders in a slightly enhanced consumer body. Using the C100 form factor would be too expensive and needs redesign to fit a smaller crop sensor.