If there is nothing showing at f64, there will always be something shown under microscope
One rule in photography is knowing where to draw the line.
To me, it is f22 max if I really picky about dust.

You probably won't be able to find a camera spotless at f36

This is an old thread but I also have a Canon 6D and have been happily shooting video with 16GB Etreme 45/Mbps cards. Last week I bought a 32GB Extreme Pro card with 95/Mbps and paid dearly for it, but it crashes just as above 2 out of 3 times I shoot. It's very frustrating as I do a lot of interviews. This card was also almost $100 from Samy's Camera here in LA.

Do I need to take the card back? I don't even know if that's possible or if I have to send it to Sandisk.

dgatwood said:

9VIII said:

The bottom line is that USB2 at 10-20MB/s is terrible, and should generally be avoided if you care about data transfer time.

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USB2 performance should not be that slow unless your card reader is junk (or, if the reader is your camera, unless the manufacturer doesn't know how to implement USB device mode worth a darn).

The peak theoretical speed for USB2 is about 60 MB (480 megabits) per second. In practice, at least with hard drives, you usually start to run up against CPU overhead, IRQ sharing, and other performance bottlenecks before you actually approach that theoretical limit—somewhere in the mid-300 megabit range, IIRC. That said, if you're really getting only 10 MB (80 megabits) per second, there's something seriously wrong....

Are you sure you're not thinking about USB 1.1's 10 megabit limit?

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I'm pretty sure I was thinking of flash drive write speeds (http://www.tomshardware.com/charts/usb-thumb-drive-charts/Copy-Benchmark-Images-Write,2301.html), which is probably more due to slow flash memory than the interface.
You're right about read speed though, which is more what we're concerned with here, the good ones get about 35MB/s read speed. 35MB/s isn't incredible but it is a lot better. A quick look through Google shows roughly the same thing for USB2 card readers.

I recently spent 3 days shooting thousands of shots for a timelapse video with my 6D. I mainly shot in aperture mode,
And the exposures remained consistent when the lighting did. Only problem was pre-dawn shoots when the balloons were shooting their flames on and off, but that's normal, I should have shot all manual at those times.

i am just luckily enough to be working here in China...many different things to photograph

Thank you guys! I was shooting a wedding all day yesterday - will try all of your suggestions tonight - and if nothing works, I've still got 2 weeks on the repair warranty

Mick said:

I guess we all sell and buy stuff of the net but the fees on a certain site are quite a lot when you sell high end stuff. Is there any other place I can sell my 1D4 over here in the UK? Shops would trade it for very little and im no expert on selling gear.

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Could advertise on gumtree, twitter etc. Also consider http://www.ffordes.com/home I have bought from them myself in the past and would use again, I'm considering sending my old camera there if the potential buyer I have decides to back out. I emailed them a while ago with a list of equipment and a reasonably detailed description of condition to get an estimation of selling price.

They take a commission, but you agree an advertised price with them rather than whatever price it gets to on a certain auction site.

OH awesome!!! thank you!!

Mt Spokane Photography said:

I've never had a binocular that did not have a adjustable diopter for one eye. Its been a universal feature forever. Don't worry, its there.

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True. Even had it on my 50$ (or less) binoculars.

mackguyver said:

photonius said:

mackguyver said:

photonius said:

mackguyver said:

Skirball said:

mackguyver said:

I found that my 50 1.4 did this same thing a lot, so I put a high quality multi-coated filter (like Hoya or B+W) and it took care of it. It won't fix flare from the sun or really bright lights, but should work in the example you posted.

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You find you get less flare with a filter on?

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Yes, with that and some other older lens designs that were pre-digital. I know it seems backwards, but if you think though it, the reflections are coming off the sensor (not an issue with film) and reflecting back on the front element. If the filter cuts down on the (internal) reflection with a modern multi-coating, that explains it. Again, it's no good in bright light, but helps with this specific type of reflection on lower intensity lights.

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Actually, physically this makes no sense. A filter in front of the lens will not prevent light bouncing off the sensor from reflecting from the front element or any other internal element. Once the light is through the filter, nothing can prevent any internal reflections.

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I'm not an optical engineer by any means, but I believe it works because it lessens the amount of the light from bouncing off the sensor from bouncing back into the sensor, which is what's causing the ghosting. The reflection off the sensor is going to hit the foremost piece of glass and reflect back into the sensor. By putting a better coated piece of glass in the front, I think it reduces the ghosting.

That may or may not be sound logic, all I can say is that when I got my 50 1.4, I couldn't believe how badly it ghosted with night shots very similar to the OP's. I screwed a multi-coated filter on the front and the problem practically disappeared. Going back in my mind, it was a 450D, 50 f/1.4, and a Hoya HMC Super filter.

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Ok, so how is a filter (let's say it lets 95% of the light through) supposed to lessen the amount of light bouncing off the sensor? The only filter that can reduce the incoming light is a neutral density filter, but it just makes all darker if you didn't adjust exposure (which would actually reduce reflections because light intensity is less)

Regarding your 50mm f1.4 experience, the most likely explanation is that you did not do it under controlled circumstances, i.e. the shots with and without filter were not identical. You can only compare if you put it on a tripod and do with and without filter.

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It worked for me, on a tripod, shooting skyline shots of Miami the first time. I had the filter off, it ghosted. I put it on, it didn't, or didn't nearly as much. I pointed it at other light sources over the 3-4 years I had the lens with and without the filter, and every time, the filter helped suppress the ghosts.

I won't debate this any further. It worked. Period.

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If it really worked, I would be very interested to see a sample.

troutmouth said:

70d will focus better, but the 6D is full frame - about the only advantage, but its a big one.

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Is there a CR policy that the actual text has to be longer than the advertisement in the footer ?

Zv said:

I wouldn't have the confidence to rock up to a job with what outwardly looks like a P&S camera!

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Not all mirrorless cameras look like P&S cameras. Here are some comparisons from Camera Size dot com

Olympus OM-D E-M1 vs Canon 7D http://camerasize.com/compare/#482,154

Fujifilm X-Pro1 vs Canon 7D http://camerasize.com/compare/#258,154

Panasonic GH3 vs Canon 7D http://camerasize.com/compare/#381,154

Sony can build a small mirrorless camera like the 24Mp NEX-7 that is not much bigger than an EOS M, Why can't Cannon give us a Pro M about the same size as the NEX-7?
Sony NEX-7 vs Canon EOS M http://camerasize.com/compare/#33,351
A Cano Pro M (with a M-mount f/1.8 85mm) plus a Canon MFD would satisfy all my needs

I think no announcement last year but it was the time when they did begin their rebate program.

If its a good deal it will be sold in a few minutes. First see if its a scam. About 99% of the really good sounding deals are scams.

I evaluate the seller as much as I do the camera. A seller who can't tell you about the camera or avoids direct answers is hiding something. Its a fact that some cameras have intermittent issues and you can't find them in a few minutes, all you can do is to see if it had good care, no bad dings, and that the seller takes care of his things.
You cannot check the shutter count without a computer and software, so its not something easy to do when looking at a used camera. Ask about it, of course.
Good luck, after all I've said, I've never had a issue with a used camera that I bought, and I've bought dozens.

I'd pay more attention to the selection of a proper camera. DSLR video is not well suited to fast action sports where you must move the camera quickly and refocus. The only camera canon makes that will focus quickly for the type of video you are showing is the 70D, and the consensus is not fully formed for that.
Another issue is the jello effect you get when you pan the camera rapidly like you did in the sample video. Camcorder sensors are not susceptible to the jello, they use a different technology.

You might not know it, but most DSLR's are manual focus, and trying to stay in focus on a quickly moving subject is neigh impossible.

Aside from the 70D, a good camcorder is the best tool for sports.

Assuming you are getting a 70D, you might just start with the kit 18-55 STM lens. Its quite, has IS, and the 70D works well with STM lenses. Otherwise, I'd get a 17-55mm EF-S. The 24-70L is great on FF, but not wide enough for a crop body.
Also get some lighting, bright lights and a very large reflector that can light up the entire area involved in the video. You will likely need multiple units. Good lighting is expensive but your videos will look better with good lighting and a cheap lens than the other way around.

JoaoPedro said:

My main concern with the 6D is ending up being frustrated by the outer points AF performance.

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If this is your main concern, you *will* get frustrated, the outer points aren't fully capable points but rather tracking helpers and a convenience for very good light conditions. With the 6D, you will have to focus & recompose, if that's not what you want then the 6D isn't for you.

I'd also rather have a 5d3, but it's nearly double the price ... fortunately I was well informed before I made the decision that the 6D is essentially a one focus point camera - and now you also know.

JoaoPedro said:

Can you configure the camera to select the AF point directly through the multi controller (the inner part of the rear dial), without having to press first the dedicated AF area or point button?

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You can either set the af points with the multicontroller, or press the top right button and then use both wheels. Both options aren't very quick to navigate, btw.

JoaoPedro said:

And how do you set the camera for an instant return to the center AF point? By pressing the SET button?

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No, this is not possible with the Canon firmware - and when they removed this very obvious option from SET they were probably rolling on the floor, laughing and sniggering "Just get a 5d3, you jerks!".

But this will be fixed by Magic Lantern, so SET will have a as "set af to center point" even if Canon doesn't want us to have it.

duydaniel said:

a) ISO 6400 and the metering shows -1
b) ISO 12500 and the metering shows 0
c) ISO 25600 and the metering show +1

You can only choose one.

Which one should give you the least noise or best quality given you can do PP?

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I'd need more information as to what your talking about. Is the camera in manual? Normally, I'd use 6400 and open the lens one stop or slow the shutter one stop.

There is insufficient information to know what the situation actually is.

Zv said:

Sorry by "you" I meant the whole thread and people in general. I figured you were shooting in RAW and prob knew all this stuff. Sometimes I type what I'm thinking!

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Not a problem. I figured what you meant but wanted to clarify...

I don't understand garage... as in you do your shooting in a garage as a makeshift studio?

neuroanatomist said:

Lately, Canon makes retailers put in place a minimum advertised price once the rebates go into effect. If you time it carefully, and buy right at the beginning of the rebate, often the retailer may not have raised their price to the MAP, and you will get the discount of the rebate off of the street price.

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Thanks, everyone- great insight. I'll look out for the above once it happens.

Another late reply, but props to Aaduki. OK, its a heavily qualified endorsement as I've not needed to claim thankfully. They are however, reasonable, expert, courteous, comprehensive and have a nice sensibly practical policy regarding theft from vehicles and unattended gear that made me happier buying. I've renewed for a further year and its still sensibly priced for covering gear and public liability.

Mt Spokane Photography said:

AlanK said:

OK - 11-22 it is! And I appreciate the suggestions on places to visit....
Alan

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Is the 11-22mm available in the USA? You would have to order it from Canada. I don't think you can rent it either.

Fortunately, there are good Canadian stores to order it from, but there will be no service in the USA until / unless Canon decides to sell it here. The service centers won't have parts or tools to fix itr, so its back to Canada for any repairs.

If you get the EF-s 10-22, its readily available. Then with a adapter it can be used on either camera, and its a excellent lens. They are available refurbished as well.

http://shop.usa.canon.com/shop/en/catalog/lenses-flashes/refurbished-lenses-speedlites/ef-s-10-22mm-f-35-45-usm-refurbished

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Good suggestion. I had not considered the EF-s 10-22 but perhaps I should. My 7D was refurbished and arrived with only 7 clicks on it and the 70-200 was refurbished too, with only a brown box to say it was anything but new. So I have no complaints with refurb'ed equipment and I didn't realize the EF-s 10-22 was such a value at $519.

My struggle is that I really like the form factor and the image quality of the EOS M. And I suspect that the EF-M WA would be a better fit on the M than the EF-s counterpart. If I continue to use my equipment as I am, I could see myself only using the 7D and 70-200 for my son's club soccer games and using the EOS M for (nearly) everything else.

DigitalRev has the EF-M 11-22 for about $50 more than what I could order it from Canada for; plus they offer a 'local' warranty where I can have the lens repaired at a service center of their choosing and they pay the repair costs. It is implied that they have service centers in the US. I want to look more into this warranty service but that might be worth an extra $50 for the peace of mind.

Thanks also to everyone else that responded - I do appreciate everyone's suggestions.

pwp said:

JonB8305 said:

Situation is I have a tight studio, reach on the 135 might be tight, but the optics are probably superior.
Want an 85 1.2 but can't really afford it. The 1.8 might be a good compromise based on price, smaller reach for tighter spaces, I kind of think 440 might be much when the 50 1.8 is $100.

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If you've got a tight studio, I'd strongly suggest don't get either the 135 or an 85. Both good lenses, but you need some flexibility. If money is tight, seriously consider a pre-owned 70-200 f/4 non-IS. Make no mistake. This is class-glass. The flexibility a zoom brings to the table cannot be underestimated. Especially one as optically strong as any of Canon's 70-200 offerings.

-pw

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I agree with the above. Zooms for studio work. My studio space is tight and i use 24-105 most of the time. With lights you stop down anyway. I would go nuts with just a prime when working several hours in studio (and I love primes). Too limiting... For outdoors - thats a different story. I have 85/1.8 and 135L and i use both. 85 more of a casual lens (or clients with kids) and 135 is when I work for a client (beauty, fashion, portraiture, etc) and location allows this focal length. Both lenses on FF produce great results, but 135 always feels a bit special.

Thanks "Click"

KyleSTL said:

OK, now it's starting to make sense. Thanks for sharing the link, Pi. This does seem like an interesting technology. I just wonder what that section of the image would look like if you put a Pentax Q + shift adapter (for the higher pixel density ~ 250MP FF equivalent) on the Canon 8-15mm.

Also, here's a presentation:
http://psilab.ucsd.edu/publications/(presentation_2013)_stamenov_(OSA_IS).pdf

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Thanks for that link.

Their lens is interesting but the comparison with conventional lenses is misleading and shows no photographic experience. I am not sure how they get that awful pixelated image with the EF lens - you can see somewhere the lens mounted on their device, and in the presentation - mounted on the 5D. Also, their lens is small on the front but huge on the back, and in a huge enclosure, as far as I can tell. Light gathering is good only in relative terms - compared to its size but I do not see why is that of any interest. It still gather much less light than an EF lens. And finally - they say no geometric distortions, which is very misleading as well. You project (say, a plane) to a sphere. If you final goal is to have a planar projection, you got a huge distortion already. The way the fix it is not clear - either mechanically (with the fibers) or with software but that would create the known problems near the borders.