Mt Spokane Photography said:

Roger was responding to the posts about loosening the mount screws to simulate the issue. He said that loosening the screws will always cause it to happen and I agree.

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Umm - What Cicala wrote, titling his response "Shame on you Fotodiox" was this:

"For loosening the screws in their demo camera before making that video. We've got dozens and dozens of A7s and I'd never seen flex like that. But if I loosened each mounting screw 1/2 turn, I got flex exactly like that."

(Lots of other sensible-looking posts in that thread too.) I think msm's perspective is quite plausible. There may be some problematic bodies (I have no idea, but Cicala has seen more than probably anyone else), but it's not at all clear what "the issue" was that people were complaining about - slight rotational play, clueless mishandling or something else, let alone whether any mere "wriggling" had any effect whatever on the images produced. The idea that Fotodiox is responding to demand rather than trying to create it by exploiting internet chitchat is a tad naive (even if they were it's not clear exactly what the demand is or whether this will satisfy it). And based on my experience with their lens adapters - usually perfectly fine except sometimes with inaccurate infinity stops - I doubt Fotodiox are the last word in mechanical finesse and I certainly won't be buying one of these things for my A7r or A6000 (nor, when I attach my 70-300L to either one, would it occur to me to pick the combination up by the body...).

unfocused said:

From Nikon rumors:

http://nikonrumors.com/2014/10/23/nikon-d750-camera-tested-at-dxomark.aspx/

Let the trashing begin.

I think the one that I find most amusing is that they rate the Nikon D810 higher in low-light ISO performance than the 6D. Yet, if you use the comparisons on DPReview even a blind squirrel can see how awful the D810 is at higher ISOs.

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I don't think the dpreview comparison tool (assuming that's what you're referring to) shows that, but then I'm not a blind squirrel . The problem with that tool is that it's misleading unless you compare cameras with similar resolution because they don't up/downscale images according to the comparison you're making. If you compare a 36mp image at 100% with a 21mp image at 100% you get greater magnification with the former, and that includes the noise. You would have to upscale the 6D image or downscale the 810 image to compare them properly (which is how they do it at photographylife.com, for instance). As it is, notwithstanding that there seemed some areas where the 810 did better (I just did the comparison at ISO6400), but I won't comment further as I've not so much as touched a D810 and don't plan to. (I keep meaning to do a similar comparison between my 6D and 5DIII vs my Sony A7r but I'm too lazy....)

https://scottkelby.exposure.co/game-day-with-the-vols

Scott used a 7II for the action shots

FYI, there's already a long-running thread on this topic.
http://www.canonrumors.com/forum/index.php?topic=6114.msg115068#msg115068

Also, I bought mine shortly after I bought my 6D, so there's some possibility that Delkin fixed a bug in the hardware's handling of certain cells during the 1.5 years between when that review was written and when I bought mine.

Mt Spokane Photography said:

Third party focus screen sellers take the one series screens, and shave off the edges to fit other cameras. Sometimes they even cut down MF screens. Their markup is very high, cutting down a screen that they pay $10 - $15 for and selling it for hundreds of dollars.

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I bought an S-type screen equivalent for my 5DIII from www.focusingscreen.com (Taiwan) and paid less than USD100 for it. Made and delivered to Norway in less than 2 weeks. It is a lot better than the standard screen, for manual focus, but I have more success with the Ec-S mounted in my 1DX. But I believe some of that is due to the exceptional view finder of the 1DX. None of them are supported by the camera though and they both give a slightly unpredictable exposure. No compensation in some cases and -1EV in others, which both should have been +/-0.

privatebydesign said:

Skirball said:

FWIW, I leave batteries in RF-602, RF-622 and 560-TX transceivers all the time and never had a problem in any of the 15 or so units I have. I only take the batteries out of my flashes because I have a bunch and only consistently use 2 or 3 of them.

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If you leave batteries in the RF-602 trigger you are bound to have a flat batery when you come to use it if left in a camera bag, it doesn't have an On/Off button!

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I cut a toilet paper roll tube in half, put duct tape on one side, and stuffed the other side with some tissue. The trigger fits in nice and comfy and doesn't touch the test button. I keep an extra CR2 battery in my bag just in case, but I've been using the tube case for about 3 years now and never had an issue.

Hello everyone,

My newest review, the Rokinon 12mm f/2 NCS for Mirrorless systems, has just gone live. I would be delighted for you to help me get the news out. I liked this little wide angle option so much that I added it to my own kit. I tested it on an EOS M body, but my observations cover the other mirrorless systems that this lens is available for.

The written review is here: http://bit.ly/1uEJNwl
The video review is here: http://bit.ly/1otFd7L

Both have a lot of sample images and real world observations. The written review also has linkage a gallery with a lot of images, including some full size samples for download. Take a look!


Lens Image Gallery: http://dustinabbott.net/2014/10/rokinon-12mm-f2-ncs-lens-gallery/


My Conclusion: In summation, this lens is (at least to me) one of the most exciting options available in the EF-M mount. It is a lens well situated for producing some “WOW” pictures from this compact system (along with the other camera systems that it is produced for). It has a very nice build quality, well-functioning manual controls, and has exceptional image quality even wide open. It’s a great focal length, has great color rendition, and is a lot of fun to use. It’s greatest challenge is that Canon makes a great compact wide angle zoom that has AF, IS, and costs no more. But it’s greatest asset is a fully usable f/2 aperture that is 2+ stops faster than the Canon zoom. That made the difference for me; I added this lens to my own kit at the end of the review period. It really boils down to your own personal priorities. The good news: I don’t think you can really make a bad choice here. Just be prepared to do your own focusing if you choose the Rokinon.


Partly Sunny by Thousand Word Images by Dustin Abbott, on Flickr

tron said:

I would still miss a coma free 16-35 2.8L III for astrophotography...

The reason being is that anything wider has a bulbous element which cannot be protected much from light (in contrast to a flat front elememt lens with a hood...

That and the need for a 2.8 aperture...

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+1. I'd love the see a 16-35 f/2.8 III. I'd rather bring a 16-35 and a 14 prime (or this 11-24).

Jackson_Bill said:

Lee Jay said:

You can use software (noise reduction and downsampling) to trade all that extra resolution for much lower noise in the overall image with the same sharpness (resolution), and in fact that's what you end up doing when you compare the two images at the same final size.

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That's something else again. This discussion was related to the discussion regarding the intensity and total quantity of light and whether how that was affected (if at all) by the size of the sensor [before post processing].

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Yeah...and you can't do what I said unless you have all that extra light captured in all those extra pixels.

Lee Jay said:

All those photons that are collected by all those extra pixels count in the total signal (sharpness) to noise (noise) of the final overall image, and that's the reason that a larger sensor out-performs a smaller sensor in low-light despite having the same sized pixels.

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No, those extra pixels don't count (again, before post processing).

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Yes, they do.

One assumption that we always make is that quantization noise is negligible. That means, you can't see the individual pixels. If you can, that's another whole problem.

Since you can't see the individual pixels, your eye is essentially averaging some small number of pixels together. The averaging works like this - the noise goes down with the square root of the number of pixels averaged. Average 4 pixels, you cut the noise in half. Average 9, you cut the noise by a factor of three.

This works out the same as the decrease in shot noise from all that extra light - SnR goes with the square root of the number of photons collected.

In reality, all larger pixels do is block average. It turns out that block averaging is about the worst performing method of noise reduction there is. Even the most basic noise reduction is better, and modern advanced method are enormously better. So, smaller pixels that are block averaging less combined with modern noise reduction software will out-perform larger pixels since the larger pixel are doing the dumbest kind of noise reduction there is.

Ebrahim Saadawi said:

Quasimodo said:

I am not into video at all, but I find it strange that you have not include 1Dc, as it also a DSLR in addition to being a videocamera. (know that you mentioned it in the bottom comment, but I mean as a comparison..)

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Price!

We didn't compare it to any Nikon DSLRs because it will surely win, it's not fair, it's double the price of the highest-end Nikon. Regarding the 1Dc as a camera though, it produces one of the finest imagest I've ever seen, even when compared to Alexa/Epic territory. It's just a stunning image with a remarkeable film-like response. It's hard to explain why an image looks lovely but it just does, it brings anything to life. It's perhaps the colour science, dynamic range, noise texture, 4k resolution, I am not sure. I just adore that 4K Canon Log image, and god how glorious people's faces look on that camera, the detail, the colour, the texture, it's just unique. It works up to 12800 ISO and has a s35 crop mode that looks almost better than any other s35 camera out there up to any price point, including the C300. I wish I could afford investing in one. Too expensive. I mean it's double the 1Dx for basically a firmware upgrade. I am almost certain with a firmware Canon can record the same window of sensor on the 1Dx and give us the same image, and I am certain they can easily do it with any of their cameras including the rebels, look at how the images look in stills mode, it's just a matter of taking a window and compressing it to MJPEG but for some reason they don't want to do it in anything but the 1DC. I really really wish Canon brings down the 1Dc features to the lower end line, at least the 1Dx line and 5D mk IV if we're lucky!

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I totally see that

My point, although a subtle one, and not fully articulated was more that video is indeed important to Canon, but I think you are right that they may focus on other segments of the market than consumers, or even prosumers in this regard. The people I know who shoot video (either for companies, or commercial, or even for small film production) all use Canon, starting from 5DIII and upwards. Having asked them, they all seem to come back to the great lens selection as a uniting factor.

Hi All

Ok what about new sensor tech ??? whether it is more res or more DR.


Regards

Jon

Ill say it again NEW Sensor TEC???

In whatever combination I pack my stuff in one of my (estimated) 10 bags, mostly ThinkTank, I try to keep cameras- never without a lens BTW- and other stuff separated by soft dividers to avoid to destruct each other.
So everything has a place and is fixed there.
Avoids damage, unwanted and annoying sound when walking.

when the bag is too small- problem.
if it is too big: problem too.
10 bags: problem solved.

P

http://www.dpreview.com/previews/canon-eos-7d-mark-ii/8

I am also awaiting the reviews. What I want confirmed is the following: That it works flawlessly with my Canon st-e3, and that if I combine it with my other Canon 600ex-rts, I will not get trouble (Whether it be lack of consistent firings, or screwed up color temperatures relative to the original 600s, ect).

Because if it does indeed perform as well as advertised, I will with the low cost be able to buy and play with as many flashes as the st-e3 controller is able to handle

.
Wow. I think I found the mother lode...

http://mashable.com/2014/10/23/rise-of-the-jack-o-lanterns/

David_in_Seattle said:

Maui5150 said:

Don Haines said:

Maui5150 said:

2) Her major gripe - no Audio tagging of images. How many cameras do this? 1Dx, D3? A nice feature but seriously

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There are two very good reasons why there is no audio tagging.... (1) It isn't a phone, and (2) at 10FPS you can't keep up to the camera.

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LOL. Not disagreeing. I think it is an "interesting featured" I know the 1Dx and some of the flagship Nikons can do this, but seriously, is there another sub $2K DSLR with similar features that includes this?

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The fact that Canon and Nikon haven't included this feature in other cameras is what baffles me, especially with the 7D mk2 being touted as a sports/action camera.

Most current DSLRs have the ability to record video, which means they have a built in mic that can record audio. The 7D mk2 along with the 5D mk3 also have mic inputs which to me means they have the hardware to include this feature, but Canon chose not to include it in the camera's firmware (something the people at Magic Lantern have been able to add in prior cameras).

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I probably should have put smiley faces in the post.... it wasn't a serious comment.... particularly the part about audio tagging at 10FPS .....

.
Thanks. I didn't see that.

Maui5150 said:

raptor3x said:

Maui5150 said:

LOL - Love part of this - "I was shooting running horses and maybe 3 out of 300 images were out of focus"

Now can't wait to see the Tony Northrup review...

"to test the sports AF capabilities, we will shoot my GF walking towards me... The 7D MK II only performed so so getting 6 out of 10 images in focus"

ROFLMAO

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That AF test still bothers the hell out of me. I have no trouble believing that the D810 can track better than the 5D3 in that scenario as Nikon seems to have gone all out with the AF on the D810 and now D750, but that the 5D3 was only hitting 60% makes no sense.

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Too me it comes down to one of two things - Incompetence or dishonesty.

He either did not know how to use the camera or he was dishonest. 40% OOF is really bad especially for the type of shooting he was doing.

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The 6 OOF of 10 was a swipe at Tony Northrup. Apparently he has a tendency to shoot OOF shots with any piece of equipment.

I am the USA distributor for the USA version of the Nest NT-530H carbon fiber gimbal head.
The USA version of this head has been factory modified and warranted to be ARCA compatible for all ARCA standard plates. The Nest mount contains a special stainless steel security pin that prevents the QR plate from coming out of the mount without releasing the security pin, no accidental dropping of your gear that way. The mount is unique in that the QR plate slides in from the end rather than drop in from the top, this allows for quicker setup as your tension clamp only needs to be turned 1/2 revolution from lock to free and back. This compares with 4 to 5 full revolutions for most ARCA clamps. The Wimberley, RRS, Kirk, Desmond and Kiwi plates will all fit the Nest, but because they use the two security lock screws to prevent accidental slide out of the plate, the front screw will have to be removed for insertion into the Nest mount, the rear screw can stay in place for security purposes.
The Nest NT-530H comes supplied with one 6" long QR High Security plate and extras are readily available. This head sells for only $299 complete, plus shipping, and is ready to use right out of the nice padded carrying case that is included with it.
The head may be found here directly: wwwcameracottage.com/equipment
Thank you.

cerealito said:

Thank you all for your replies. I bought this from a the website of a major retailer in France (Carrefour, for those who may be interested ) so I guess it is not gray market... I'm trying to find on canon's French site if they are an authorized retailer... maybe a call to canon will solve the mystery.

I've checked for fingerprints and there seems to be none. Also, there is Styrofoam AND bubble wrap around the camera, all the inside components are sealed with tape, and they seem new.

there is also a EWS agreement in the box... so far I'm inclined to think they just mixed-up the manuals somewhere?

I will check the shutter counts and keep you posted. Thanks again for your replies

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The seller sells all over the world, and likely mixed up Cameras intended for another country. Contact them and ask to exchange for a French model. That way, you will be sure of having a Warranty if it fails.

Carrefour S.A. (French pronunciation: ​[kaʁfuʁ]) is a French multinational retailer headquartered in Boulogne Billancourt, France, in Greater Paris.[2] It is one of the largest hypermarket chains in the world (with 1,452 hypermarkets at the end of 2011[1]), the fourth largest retail group in the world in terms of revenue (after Wal-Mart, Tesco and Costco), and the third in profit (after Wal-Mart and Tesco[3][4]). Carrefour operates mainly in Europe, Argentina, Brazil, China, Dominican Republic, United Arab Emirates, Qatar, Lebanon and Saudi Arabia, but also has shops in North Africa and other parts of Asia, with most stores being of smaller size than hypermarket or even supermarket. Carrefour means "crossroads" and "public square" in French. Previously the company head office was in Levallois-Perret, also in Greater Paris.[5]

jeffdo said:

Djaaf said:

Yep, as the previous posters said : for wide-field astro photo, you'll need a Samyang lens. They're pretty much the only ones to do wide aperture with almost no coma (maybe Zeiss too, but i've yet to see a test for coma with the 18/21mm Zeiss lenses).
The Canon 16-35 f/4L is mostly comma-free, but F/4 is really not ideal.
Djaaf.

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Thanks, this is great advice. Your sample pictures were amazing.

Is Samyang just making another version of the Rokinon lens or vice versa?

If I am going to buy another L, I'd rather get something I'll use more than the 24L at that cost.

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Made by Samyang, also sold under the Rokinon, Bower and other names.

@ Djaff - wonderful photos!

If you can afford the price, you should also consider the 70-200 II for its versatility

2n10 said:

jrista said:

2n10 said:

jrista said:

Keith_Reeder said:

Quasimodo said:

and to aquire his skills

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The only thing that differentiates Art Morris from a million other photographers is opportunity - he has access (by his own admission) yo lots of tame birds, and the time to exploit them.

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I'm sorry, but it's more than simply opportunity. Art has decades of experience and insight that far fewer than "millions" of other photographers have. If you actually read his blog on a regular basis, and read his books, you realize the depth of his experience. If I had all of Arties opportunities, I'm certain I would get better photos...however getting excellent photos every single time is another story. There are subtleties within subtleties within subtleties about bird photography that you learn when Art starts critiquing your work (which is something I do, over on BPN.) You start learning how nuanced getting every single aspect of a bird photo, from lighting and composition down to head angle and eye pointing and everything else.


I'm a decent photographer, and one of those "millions" of other photographers out there who don't very often have the opportunities that Art has. I know for a fact, though that even if I had them, I'd be missing a LOT of the subtleties.

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+1, he has great compositions and looks to his shots even though many are a little on the high key side to my taste. Reading his comments just from the 7D2 posts on his crop and composition choices shows just how much he considers when taking photos.

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Yeah, there is a depth of consideration, for sure. The amazing thing is he seems to consider all those things in seconds or less. He also knows how to rebase his exposure every time he moves the lens or the light changes...and his techniques for doing so are amazing, but remembering to do all those things myself, every time I press the shutter button, is not easy. I still forget to rebase my exposure when pointing from one subject to another, where the lighting has likely changed. That sometimes results in hot or blown highlights that are difficult to recover with good detail. There are thousands of little things, nuances, that you have to think about and get correct, all in the timespan of a bird indicating they are going to do something interesting, pointing the lens, basing then adjusting exposure, and actually taking the shot at the right time such that you get everything right. I cannot think about all those small factors and nail it every time. I don't exactly have a lot of throwaways...however I rarely if ever get a photo I could call "Morris-level quality"...VERY rarely.

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I have the same issues you do. Half the time I am just happy to get a recognizable shot. :-[

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Happy to hear, that photography still about skills. I wonder lately, if just anyone can get the exposure right every time (with regards to covering an event). If yes, I may just forget doing part time taking photo.

I was scolding myself, when I shoot group photos and I forgot to increase aperture value, or my ISO was more than enough, since I want to nail ETTR. Or forgot to increase shutter speed, when its dancing time. Jeez this is basic..

But good the focus still there.

You can tell this is the JJ Abrams version of the Star Trek ride, it's got serious lens flare
You can get some neat effects with old lenses (shot with a Vivitar 17mm f/3.5)

Taking Off by yorgasor, on Flickr

I liked the look of the "exploding ride" here:

5D3_6197 by yorgasor, on Flickr