sb in ak said:

7D for the mag body and overall build, joystick, weather sealing.

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TheSuede said:

The patent is old and probably conceptually invalid due to prior-art. And I'm pretty surprised about the confusion about what it does, as it's fairly straight-forward and easy to read.

What Canon patented here is a specific implementation, not a method, of a two-stage pre-selection of AD reference voltage.

As the signal is presented to the AD section, the absolute voltage is first presented to a comparator circuit. In the "determination period" the comparator sets the AD ramp signal to either a high (fast) reference ramp, or a low (slow) reference ramp.

If the signal is (was) lower than the comparator set point, then the AD works with a slower ramp and after that it scales the result down numerically by a factor of [high ramp] / [low ramp]. This enables a "slower" readout of weak signals, something which offsets the crappy (noisy) AD converters base level noise for low-level signals. Signals stronger than the comparator set point will be digitized with lower precision, but in strong signals that inaccuracy is totally dominated by photon shot noise.

If you use higher quality AD converters or a slower bitrate conversion this two stage setup is not necessary. Often slower reads are implemented by higher parallelism, using more AD converters per image. This is what Sony's Exmor, or indeed any other of the five big one's on-sensor AD conversions. They use the "slow ramp" for all pixels, all the time, anyway.

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neuroanatomist said:

The BuyDig one comes in retail packaging, the one on Amazon (which is sold by a third party seller) is a 'white box' lens that was split from an EOS M kit.

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neuroanatomist said:

Many lenses are designed to be able to focus a bit beyond infinity to allow for thermal effects on the elements.

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mackguyver said:

I understand and don't hesitate to use f/5.6 if needed - you can always sharpen a bit more in post. As for a recommended maximum distance, I'm not aware of any limitations of the lens or lens+extender combo. What you may experience is environmental issues softening the image - haze, humidity, heat, etc. These can all degrade images with (super) telephoto lenses. Where I live, it is very hot & humid most of the year, and all of the shots I've tried at 100m+ are all blurred & wavy due to the "mirage effect" of the heat. In cold, clear conditions, you should be able to shoot at fairly extended distances without any issues, though.

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alexanderferdinand said:

Another observation: as strange it may sound: if you take less, youre work is less appriciated.

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Eldar said:

I got the 24-105 f4L mug from my son (in black)

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Eh said:

...I was told it doesn't autofocus in video...

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jrista said:

mkabi said:

jrista said:

mkabi said:

jrista said:

mkabi said:

Lawliet said:

mkabi said:

What if in the future, they produce that prototype camera that is able to shoot 24, 30, 60 and/or 120fps, and its 100MP with Native ISOs of 1600?

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That camera would require sensor cells about 16times of the current ones. At the same time you have about 4 times the cells. I.e. each side is sqrt(16)*sqrt(4)=8 times as long, we're talking about a sensor the size of a large format film/plates and lenses large enough to cover it. To have a real light collecting advantage said lenses would have to be faster then the current ones, while DOF gets thin as a razorblade. They used f/64 for a reason. There might be practical problems with that.
NB: The QE of current silicon doesn't allow for much higher sensitivity as we're already close to counting single photons. Unless we're getting more photons we're de facto stuck.

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So you're saying its a pipe dream? Like the flying car...
But what about that guy that figured out how to slow it down to the point of taking pictures of photons... was it 1,000,000 fps?

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You do realize that "taking pictures of photons" isn't really what the femtocamera does, right? It actually takes millions of frames through a microscopic slit, basically time-slicing the movement of millions of separate pulses of light. It can't actually record the motion of light waves in a single "frame"...it has to take hundreds of millions to billions of frames, which are then processed via very specialized software, in order to make an actual video clip. The device is rather large, bulky, power hungry, and is unlikely to ever look anything like a normal camera. I suspect it will eventually be shrunk in size, and probably packaged into scientific grade devices where such high speed "photography" could be immensely useful for scientific purposes. But there isn't going to be a million fps digital camera capable of actually taking anything that even remotely resembles a "picture" one millionth of a second long on the market any time soon... :

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What would I do with a million fps camera? Nothing.
But I'm talking about the possibility that some day there will be a camera both stills and motion based that we won't care that it does both.

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The needs of motion based photography are different than the needs of stills based photography. You can always have a better stills camera if you focus on making a better stills camera. Just because you can capture a thousand frames per second at high resolution doesn't mean that any one of those "frames" will be acceptable as a still photograph.

Sure, we can have both, but you can have better of each if you dedicate research to both independently.

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I beg to differ...
Have you heard of the saying that it takes 10,000 pictures to get 1 good shot?

I'm sure that they are independently researched, but they come together so well...

How many of us complain that our cell phones can play music, surf the net and host a bunch of applications?
How many of us complain that a phone should be a phone and all the others should be separate?

Why is it that you hate video so much? Do you not watch any movies, home made and otherwise?
People here in this forum say that if they want video, they would get a camcorder or a video camera....
So if you go on vacation, you would rather carry 2 different bodies and shoot stills with one and video with another?

Also, how many camcorders allow us to change lenses? As I said before, video is in every way like stills... I want wide angle, medium and close ups, even macro shots. I want shallow depth of field, creamy bokeh in my video. Can a regular camcorder provide that for me?

They say that the AA filter is giving them a softer image, so give me a shot that you are proud of... and tell me why the AA filter got in the way of your shot.

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Well, first off, I disagree that it takes 10,000 photos to get 1 good one. I would say the ratio is more along the lines of 100 to 1 for an average photographer, and considerably less than that for a skilled photographer. That argument generally implies that the photographer doesn't matter, and that if you capture enough frames, a good photo will happen by chance. Possibly, but that is most certainly NOT what having a good stills camera is all about.

The opposite, actually. A good stills photography camera is all about making it easier to get a good shot EVERY time, not once every ten thousand shots! I could probably rest my argument on that alone...but...

Cell phones are not artists tools (not by design.) By design, a cell phone, or as they are more appropriately called these days smartphones and phablets, are multipurpose devices. Of course we don't complain that they can do a lot of things...that is what they are designed to do. They aren't meant to be the best still photography camera money can buy, nor will they ever be. They are meant to be general purpose devices that allow you to augment their functionality in a wide variety of ways via apps so you can COMPUTE ON THE RUN. Sorry, but I don't see any analogy between a smartphone and a camera. One is designed for computing, the other is designed for art.

Regarding me "hating" video, don't put words in my mouth! I really dislike that! I have in no way said I hate video! On the contrary, I would love to make videos of the nature I photograph. It is just impractical to try and do both stills photography and cinematography at the same time, and do both well. As I said before, the two have different core goals, and therefor need equipment tuned for different purposes. I mean, I CAN take photographs with my Lumia 920, and they are pretty nice...but they are always lacking, even when I put in all the effort I have into making them as good as possible. Sure, my Lumia 920 can take video as well, but movies aren't about video...movies are about storytelling, and using the facets of optics to portray that story in a beautiful way. I WANT to do video...but to achieve the kind of storytelling through motion picture that I want, I need to dedicate time and equipment to it. To that end, if/when I get into it, I'll buy a camera actually designed for cinematography.

As for vacation...I wouldn't bring along high end equipment. I'd bring along something like an EOS-M instead. Vacations aren't professional photography or cinematography outings, they are vacations...time to spend with the family, sightsee but not necessarily spend hours photographing each sight, etc. I could take family videos and decent photography with that one tiny little camera, and still have the option to change lenses for different needs. But the needs of a vacation are radically different from the needs I have for my photography, or the needs I would have if I truly wanted to put together a quality movie of the natural world I photograph. I would indeed lug along both separate stills and cinema cameras if I intended to do both, however I'd keep such trips separate from "vacations."

To be quite frank, I feel, as a photographer, that my explicit needs HAVE been glossed over by Canon in some ways. I feel as though if they dedicated some more effort to making a better stills camera, they would, and it would be on the market faster. The simple fact of the matter is I KNOW they are sharing resources, developing some stills technology but even more cinematography technology, and that as a stills photographer, I'm not getting as much from Canon as I used to. Your lofty vision of video cameras that can be ideal for both stills photography and cinematography, assuming it is possible, is a VERY LONG, LONG way off. Decade or two at least. Sorry. but I'm not willing to wait that long for the mere possibility that something like a 10,000fps "camera" that can produce video or stills, might eventually appear.

Sorry, but there could be immediate value to Canon investing a few more resources into stills specific photography research, the results of which could be seen soon, rather than decades down the road. I don't hate video, but I would rather it not be the primary focus of research for stills photography devices. I would rather we not have this endless march towards hybrid devices. I think Canon could produce both better stills cameras AND better cinema cameras by dedicating research teams to both, keeping the two separate. The Cinema EOS line, while not a bad start, still lags far behind the competition, just like their stills cameras are. Companies like Red are already pushing 20 stops of dynamic range...Cinema EOS is still stuck at less than 12. They have to deal with extra crap to blend the two technologies together, and I think that is sapping energy from both as individual technologies.

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Don Haines said:

Mt Spokane Photography said:

neuroanatomist said:

Mt Spokane Photography said:

you must turn the camera power on.

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Actually, you don't – the VF is bright as long as the battery is installed, even with the camera powered off. Which I suppose means that 'off' really isn't, which has implications for power drain while a camera with a transmissive LCD is sitting unused.

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You are right, I tried it with my 5D MK III. I seem to recall my 7D going dark when powered down, but its sold now.

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Don't you guys have anything better to do with your time than pop batteries in and out of a camera to see if the VF darkens?

BTW, it makes no difference on a 60D.....

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