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EOS 5D Mark IV - the crippled generalist

Dear All,

Like so many others I feel alienated from Canon by their decisions to cripple each of the cameras in their lineup in one way or the other.

After so many years I was hoping Canon would for once address the generalists among photographers instead of offering bits and pieces here and there throughout their line-up. I wish I could buy a universal camera with multiple identical backups as in the old days of the EOS1n or EOS3. But neither the 5D IV nor the 1Dx II nor the 5DSr nor the 80D fullfill the modern needs of generalist photographers.

Speaking of myself, I photograph wildlife with super-teles, I am into fine-art landscapes and for people-reportages I do wide-angle from the hip and around corners. In all these areas I have come to absolutely depend on a flippy tilt screen that is part of the camera. It just gives you all the freedom to choose the best possible angle of view and some of my best compositions I only found because I employed the flippy-tilt as my third eye. I find it hard to accept that the old Rolleiflex of my dad can do things Canons new generalist fails at. I am not overly lazy, immobile or bashful. I do lie down on the ground a lot in public and nature. However there are many situations when you either physically cannot move your body in the right spot or when doing so is impractical or even dangerous. The 70D/80D does the job, the 5D IV won't

These are my personal must-haves:

-Fullframe
-reasonable speed and buffer
-articulating screen
-highest possible resolution, minimum 30 Megapixel
-weather sealing


list of shortcomings in the 5D IV:

-no articulating screen
-inclusion of AA-filter (Why not bringing a EOS 5D IVr to the market as alternative?)
-buffer is rather limited (why no XQD)
-only offering uncompressed MPEG makes filming 4k impractical to most of us
-no accessory EVF
-no truly silent mode

For the mean-time, I consider selling my 16-35 L IS and adding a Pentax K1 with a 15-30/2.8 to my equipment for reportage and landscape purposes. What I like about Pentax is the fact that allthough they do not have access to all the finest technologies like dual pixel af or even a fast regular autofocus, at least they try to give you everything they can in a single package. But ironically I prefer Canon's flippy-tilt concept over Pentax'.

So why can Canon not try to do their best? How arrogant must the company's managers be to think that they can keep crippling their cameras without loosing market-shares? I honestly mourn. But more so I am angry: Photographing with Canon nowadays feels like sitting in an Opera with a star cast but with those highly acclaimed singers not giving a S___ about the arts or the audience on that very evening. Bad performance. Guess I stick to my old recordings or buy a Pentax instead. Not a big voice but giving their best whenever they go on stage.

I foresee: If the 6D II will come out with a flippy-tilt screen, it will not have more than 5fps.
Deal-breaker? No. But then it will need to have 30Megapixel and no AA-filter. Then to the generalist who can sacrifice fps it could be a compromise that might be worth owning for a few years. The 5D IV definately isn't.

Canon's Earnesty Officially sucks.

Irix to release 11mm f/4 lens soon

We heard about Irix offering a companion 11mm f/4 to go alongside their 15mm f/2.4 back in March, but it looks like it's actually happening soon:

http://photorumors.com/2016/09/02/irix-11mm-f4-full-frame-lens-for-dslr-cameras-rumored-to-be-announced-next-week/

For all of you that only use your EF 11-24mm f/4L as an 11mm prime -- and you know who you are ;) -- there will soon be a lighter option out there for you, and this one may even have a front filter option (not confirmed, but their 15mm f/2.4 has front filters, so who knows?).

- A

If you were dropping $5k...

Simple opinion question: I'm prepared to spend around $5000-ish on gear. I shoot in wildlife, landscape, city, starscapes, sports off and on, and a bit of portraiture.

Currently have: 1DX, 5D3; Rok 14, Rok 24, 16-35L IS, 24 TSE II, 24-70L II, 50 1.4, 70-200L IS II, 100L Macro, 1.4x III, 2x III, 600EX-RT x 3, ST-E3-RT, and great tripod setups.

What would you do (all options used)

Option 1: 300 IS II

Option 2: 17 TSE, 85L II, & 100-400 II

Option 3: a different suggestion in keeping with the price range

Thanks in advance for the help!

Canon to start selling sensors to other companies?

News?

http://petapixel.com/2016/09/01/canon-sell-cmos-sensors-companies-first-time/

Curious to see what the EXMOR-loving Nikon camp does if the D820/D900 turns out to just have a 5D4 sensor dropped in it.

Given all the proprietary mojo Canon has wicked into its sensor development (DPAF in particular), I'm guessing this if Canon starts selling sensors, it won't be in 'our' end of photography. I'm assuming they'd make a bigger push in non-consumer areas like security, machine vision, etc. but I very well could be wrong.

- A

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5DsR: Noise at high ISO like film grain?

Hello,
please, this for the 5DsR users.
I recently saw images online from that camera, converted to Black & White, using ISO 2000 and ISO 5000, natural light after the sunset, without any special editing apart from the conversion to B&W, neither added grain to simulated old 35mm film and the images looked to me almost like film (Ilford, maybe).
A beauty.
The grain was very nice, at least in B&W.
Anyone of you 5DsR (everyone knows that this Canon sensors are a bit noisier than other brand sensors even at base ISO) users had the same feeling?
Digital noise in colour isn´t pleasant to me. But in monochrome...

I just saw online images. A print would be important but I don´t have access to one. A RAW file would be also a good test but I don´t have one either.
So I trust in your feedback as users.

Thanks a lot in advance for your help.

who actually needs new bodies?

Well I fell in the ocean waves with my 5DIII and the Tamron 24-70 f/2.8. I consider them lost.

Then what happened I read Ken Rockwell's thing about "how to win on eBay" and what do you know, I won the EF 24-70 f/2.8 II at 1300 dollars. I congratulated myself until I realized that the way they handle the costs in international affairs in eBay does not necessarily take into account what little buyers in remote places are entitled to.



14231158_668593123296549_257291314052195474_o.jpg
llcould

Then on my second attempt, I managed to find a 5DIII at 1500 euros...the seller did not know the shutter count.
I met him (without any cash in my pocket) and ran the tests, 34080 shutter releases. No scratches. Nothing wrong so it seemed and the seller was a retired photographer specialized in child photography.

I got the cash from an ATM, paid him, got the original documents and took the camera home. Upgraded the firmware, changed the names and finally got the serial number visible and identical to the one on the camera body.

I washed the camera a couple of times. It still smells!


But then the lens I had bought on eBay arrived.
This was the first time I had tried the EF 24-70 f/2.8 II.

Those who have been in this situation, understand what I am talking about.
The Tamron 24-70 f/2.8 VC is a very nice lens. But this is totally another story.
The Canon lens actually hits the focus every time. Of course, you can goof your shots using unrealistic shutter time. Of course. There is no VC or IS to help you out.
Tonight I used this lens the second time in my life.
My message is: Do not waste your time with anything lesser. This is The Mother of Middle Range Zooms!
Accorrding to Cicala this is the best-built optique on the market.

Where is it best to use 50 MP vs 20 MP? Wide angle or standard focal length.

Okay, so I HATE changing lenses when I am out walking around shooting. I'm allergic to dropping lenses, getting dust in the camera and/or lens, inconvenience of juggling expensive stuff, wasting time, etc. SO, I was waiting to see what the 5D4 would be like, and I've decided to buy a very lightly used 5DS-R for $2750 instead. Maybe I'll replace my 6D with a 5D4 in a year when the price softens a bit. I currently have 6D and 7D2 bodies. So, now I will have three, which is what I want for walking around. One body for wide angle zoom (16-35), one for standard (24-105) and one for longer zoom (70-200 plus TC 1.4 iii if needed). That way, no changing lenses for +90% of walking around focal lengths.

My plan for walking and shooting (NYC Central Park, arboreteums, vacations, etc) is put my 70-200 2.8 Mk2 on my 7D Mk2 (for longer zoom up to 320mm), and put my EF 16-35 f/4 and Sigma Art 24-105 on the Canon 6D and 5DS-R (when it arrives). That way, I've got 16-320 mm covered seemlessly with good glass without changing lenses. :-)

So, the question is... all things being equal, (and using at least a monopod or tripod, etc., outdoor in good light)... is it better to have the 50 MP on the ultrawide 16-35 to catch all the information in that field of view, or is it better to put the 20 MP 6D on the 16-35, and put the 50 MP body on the 24-105 Art lens to catch the increased detail of close up (like portraits, flowers, buildings, skylines, museum stuff... which of course is the focal length for the lion's share of what most people shoot? Which would you do? Thanks.

5D iv Dual Pixel RAW files give an extra stop in the highlights

I am not sure if I understand this, but this seems interesting to me. Especially if LR eventually supports DP RAW files. Most of the time it seems like we look at the ability of a camera's sensor to recover shadows as a measure of dynamic range. But if the info is in the highlights, then there is no reason to underexpose everything by 5 stops.

http://www.imaging-resource.com/news/2016/09/01/dual-pixel-raw-redux-forget-focus-tweaks-canons-new-tech-can-yield-an-addit

Tamron Announces 1.4 & 2.0 Teleconverters

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<em>TAMRON ANNOUNCES TWO TELECONVERTERS</em></p>
<p>New models designed exclusively for Tamron lenses</p>
<p>TELECONVERTER 1.4x (Model TC-X14)

TELECONVERTER 2.0x (Model TC-X20)</p>
<p><strong>September 1, 2016, Commack, New York</strong> – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of two teleconverter models exclusively[1] for select Tamron lenses. These accessories make it easy to expand the versatility of the new SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) ultra-telephoto zoom lens. TELECONVERTER 1.4x (Model TC-X14) increases the focal length by a factor of 1.4x, while TELECONVERTER 2.0x (Model TC-X20) doubles the focal length. Delivery of the new teleconverters, each available in Canon and Nikon mounts, will start on September 23 in the Japanese market and soon thereafter in the U.S. market at a price of $419 for the 1.4X and $439 for the 2X.</p>
<p><!--more--></p>
<p><strong>PRODUCT HIGHLIGHTS</strong></p>
<p>1. Increases maximum focal length

Although the maximum focal length is increased, the minimum object distance remains nearly the same, so the magnification ratio during close focusing is enhanced. Both teleconverters are carefully designed and constructed to preserve the original superior image quality of the lens. The 2.0x model uses one LD (Low Dispersion) lens element to suppress aberrations. BBAR (Broad-Band Anti-Reflection) coatings are deployed on both models to help minimize ghosting and flare.</p>
<p>2. Autofocus and VC features are retained with compatible lenses

Autofocus functions normally with compatible lenses (please refer to Compatible Tamron Lens List below). VC (Vibration Compensation) performance is maintained.</p>
<p>3. Moisture-Proof and Dust-Resistant Construction

The new teleconverters are ideal for use in outdoor photography when matched with any lens that has a Moisture-Resistant Construction because special seals that are dust-resistant and moisture-proof are used at every joint and seam.</p>
<p>4. Sturdy, durable barrel design

The barrel frame of the teleconverters are made of die cast aluminum, except for some parts of the exterior finish, to maintain extra strength when used with large lenses. The design utilizes a bayonet mount made of brass on the camera side and stainless steel on the lens side to ensure excellent durability even with repeated mountings and detachments.</p>
<p><strong>Design Concept

</strong>These accessories embody Tamron’s new design that’s born from the pursuit of functional beauty and achieved by smoothly blending engineering and design enhancements. Meticulous craftsmanship is applied to every detail. The new teleconverters feature a metal lens barrel and share this same design concept. Both teleconverters provide remarkable ease of use-even the release lever offers a comfortable touch to the photographer’s finger.</p>
<p><strong>SPECIFICATIONS</strong></p>
<p>TELECONVERTER 1.4x</p>
<ul>
<li>Model : TC-X14</li>
<li>Magnification : 1.4x</li>
<li>Optical Construction : 6 elements in 3 groups</li>
<li>Maximum Diameter : for Canon Ø70mm / for Nikon Ø62.6mm</li>
<li>Length[1] : for Canon, Nikon 0.8 in</li>
<li>Entire Length[2] : for Canon 1.3 in (34.1mm) / for Nikon 1.3 in (32.3mm)</li>
<li>Weight : for Canon 7.2 oz / for Nikon 6.3oz</li>
<li>Standard Accessories : Mount cap, Rear cap, Lens case</li>
<li>Compatible Mounts : Canon, Nikon</li>
</ul>
<p><span class="green">*Use of the TC-X14 tele converter reduces the effective aperture by one f/stop.</span></p>
<p>TELECONVERTER 2x</p>
<ul>
<li>Model : TC-X20</li>
<li>Magnification : 2x</li>
<li>Optical Construction : 9 elements in 5 groups</li>
<li>Maximum Diameter : for Canon Ø69.8mm / for Nikon Ø62.3mm</li>
<li>Length[1] : for Canon, Nikon 2.1 in</li>
<li>Entire Length[2] : for Canon 2.6 in (66.8mm) / for Nikon 2.6 in (65mm)</li>
<li>Weight : for Canon 12.7 oz / for Nikon 10.8oz</li>
<li>Standard Accessories : Mount cap, Rear cap, Lens case</li>
<li>Compatible Mounts : Canon, Nikon</li>
</ul>
<p><span class="green">*Use of the TC-X20 tele converter reduces the effective aperture by two f/stops.</span></p>
<p>Specifications, appearance, functionality, etc. are subject to change without prior notice.</p>
<p>[1]Length is the distance from the front tip of the lens to the lens mount face.

[2]Entire Length is the distance between the tip of the lens and the tip of protrusion.</p>
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Tamron Announces the SP 150-600mm Di VC USD G2 Lens

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<em>New generation “G2” lens boasts faster AF speed and enhanced VC</em></p>
<p>SP 150-600mm Di VC USD G2 (Model A022)</p>
<p><strong>September 1, 2016, Commack, New York</strong> – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of the SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022). This second generation “G2” lens builds upon the success of the SP 150-600mm F/5-6.3 Di VC USD (Model A011), which launched in December 2013 and continues to successfully meet photographers’ needs in the ultra-telephoto category. The new G2 version was developed to provide superior optical performance with today’s high resolution DSLRs and to add improvements to several features including speed and accuracy of AF and VC (Vibration Compensation). Also, several new features have been added: FLEX ZOOM LOCK mechanism, Fluorine Coating and optional teleconverters. The new lens delivers outstanding performance and a luxurious, upscale appearance, including a metal lens barrel.</p>
<p>Delivery of the new lens in Canon and Nikon mounts will start on September 23 in the Japanese market and soon thereafter in the U.S. market (Sony A-mount to be delivered at a later date) at a price of $1399.</p>
<p><!--more--></p>
<p><strong>PRODUCT HIGHLIGHTS</strong></p>
<p>1. Optical design refreshed to achieve even higher performance

Three LD (Low Dispersion) lens elements completely eliminate axial and transverse chromatic aberrations. The design also features an upgraded optical construction (21 elements in 13 groups) and leverages improvements in manufacturing technology. As a result, the lens delivers high resolution, improved sharpness and overall better performance.</p>
<p>2. Tamron’s sophisticated eBAND Coating for eliminating ghosting and flare

eBAND (Extended Bandwidth & Angular-Dependency) Coating is a nano-structured layer deployed on the lens element surface. In addition to regular anti-reflection coatings, eBAND Coating offers higher light transmission and significant improvement in anti-reflection characteristics, especially against angulated incident rays. Combined with BBAR (Broad-Band Anti-Reflection) coatings, flare and ghosting are reduced to imperceptible levels.</p>
<p>3. MOD reduced to provide optimum tele-macro photography

Tamron’s advanced manufacturing technology has made it possible to reduce the MOD (Minimum Object Distance) to 86.6 in (2.2m), compared to 106.3 in (2.7m) for Model A011, and has allowed for the wonders of tele-macro photography with its 1:3.9 Maximum Magnification Ratio.</p>
<p>4. AF speed is faster and much more responsive with moving subjects

The Model A022 is equipped with a USD (Ultrasonic Silent Drive) ring-type motor that delivers excellent responsiveness and control. AF speed is significantly improved from the current model, and it enables accurate high-speed focus even when capturing moving subjects. When shooting with AF, the Full-time Manual Focus override allows you to instantly make fine-focusing adjustments manually, without having to switch between modes.</p>
<p>5. VC performance is now 4.5 stops and offers 3 modes optimized for different situations

The VC (Vibration Compensation) effectiveness is equivalent to 4.5 stops, based on image stabilization performance levels established by CIPA (Camera & Imaging Products Association) when using VC MODE 3. Model A022 now has three types of VC modes, and it is possible to choose the optimum VC mode according to the situation for taking a photograph, such as when panning.</p>
<ul>
<li>VC MODE 1 is the standard mode that strikes a great balance between the stability of the viewfinder image and the stabilization effects.</li>
<li>VC MODE 2 is exclusively used for panning.</li>
<li>VC MODE 3 prioritizes the stabilization of the captured images and forgoes the stabilization of the viewfinder image.</li>
</ul>
<p>A new VC Mode can be programmed with the optional TAMRON TAP-in Console™. You can overwrite VC Mode 1 with a new VC Mode that allows stabilization to be engaged constantly for videography purposes. In this mode, the LCD screen is used.</p>
<p>6. New FLEX ZOOM LOCK mechanism enables locking of the zoom ring at any position

The FLEX ZOOM LOCK mechanism quickly locks or unlocks the zoom at any position simply by sliding the zoom ring. Photographers can shoot from any angle without the zoom extending unintentionally. Additionally, the lens features the conventional Zoom Lock switch to prevent unwanted barrel extension during transportation.</p>
<p>7. Fluorine Coating and Moisture-Resistant Construction for a more user-friendly lens

The front surface of the lens element is coated with a protective fluorine compound that is water- and oil-repellent. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints. For greater protection when shooting outdoors, leak-proof seals throughout the lens barrel help protect your equipment.</p>
<p>8. Electromagnetic diaphragm system now used for Nikon-mount lenses

An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses[1]. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a motor through electronic pulse signals.</p>
<p>9. Lightweight and easy-to-hold tripod mount is compatible with an Arca-Swiss style quick release plate

A new textured grip and Arca-Swiss style tripod interface enhances both speed and utility. And because the tripod mount is made of lightweight magnesium, it is much easier to carry.</p>
<p>10. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory product

The optional TAP-in Console provides a USB connection to your personal computer, enabling you to easily update your lens’s firmware as well as customize features including fine adjustments to the AF and VC.</p>
<p>11. Teleconverters exclusively for the Tamron lens now developed

Two exclusive teleconverters[2], which perfectly match the optics of the new SP 150-600mm G2 (Model A022), offer 1.4x and 2x magnification, and provide a maximum zoom range up to 1200mm. These new teleconverters extend focal length of the master lens, making it possible to take pictures in farther ultra-telephoto ranges.</p>
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Canon U.S.A., Inc. Introduces New Flagship EOS C700 Cinema Camera

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<em>Ideal for Major 4K Cinema, Television, and On-Demand Streaming Productions</em></p>
<p dir="ltr"><strong>MELVILLE, N.Y., September 1, 2016</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the next step in the evolution of the Cinema EOS family of professional cinematography products with the new EOS C700, EOS C700 PL and EOS C700 GS PL cinema cameras.</p>
<p dir="ltr">Featuring a completely new, customizable, modular design, the EOS C700 meets the demands of today’s productions – from feature films to documentaries to episodic dramas. The EOS C700 and EOS C700 PL cameras feature a Super 35mm 4.5K sensor<sup>1</sup> with wide dynamic range, and can be ideal for productions requiring 4K UHD TV or 4K DCI cinema deliverables. The EOS C700 GS PL features a Super 35mm 4K sensor with a global shutter to enable the distortion-free capture of subjects moving at high speeds. In addition to supporting the earlier XF-AVC<sup>2</sup> recording format, the cameras also support Apple<sup>®</sup> ProRes.</p>
<p dir="ltr">Recognizing that customers today demand flexibility and the ability to respond to the changing needs of productions, the EOS C700 allows users to convert between EF mount and PL mounts, and between a standard CMOS image sensor and a global shutter CMOS image sensor at Canon service facilities<sup>3</sup>. The EF lens mount provides compatibility with Canon’s diverse lineup of over 70 interchangeable EF lenses as well as enabling use of Canon’s Dual Pixel CMOS AF technology. While the EOS C700 PL and EOS C700 GS PL allow use of industry-standard PL lenses and compatibility with Cooke /i metadata communication technology.</p>
<p dir="ltr"><!--more--></p>
<p dir="ltr">For those wanting to shoot and deliver High Dynamic Range (HDR)<sup>4</sup> content, the EOS C700 and EOS C700 PL are ideal – providing 15 stops of latitude<sup>5</sup>, Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Additionally, these cameras seamlessly integrate with Canon’s professional 4K displays (DP-V2420, DP-V2410 or DP-V1770) for on-set color management and review that conforms to SMPTE ST 2084<sup>6</sup> standards of HDR display.</p>
<p dir="ltr">To complement these powerful new acquisition tools, Canon has turned to its trusted partner Codex to provide a fully-integrated (no cables) recording and workflow option. The combination of the EOS C700 camera with the optional Codex CDX-36150 recorder allows for high-speed 4.5K RAW recording at up to 100FPS, 4K RAW at up to 120FPS, 4K ProRes at up to 60FPS, 2K ProRes at up to 240FPS and XF-AVC at up to 60FPS.</p>
<p dir="ltr">Canon’s new EOS C700, EOS C700 PL and EOS C700 GS PL are the first Cinema EOS cameras to support anamorphic shooting  by utilizing a “de-squeeze” function for monitoring<sup>7</sup>, making possible the creation of images with the 2.39:1 aspect ratio typical of cinema productions. Furthermore, enabling Full HD high-frame-rate recording at a maximum of 240 fps (crop<sup>8</sup>), the camera enables smooth playback, even when slowed down, for great emotional visual expression.</p>
<p dir="ltr">Along with the announcement of these cameras, Canon is also introducing optional accessories OLED 1920×1080 Electronic View Finder EVF-V70, Remote Operation Unit OU-700, Shoulder Support Unit SU-15, Shoulder Style Grip Unit SG-1 and B4 mount adapters MO-4E/MO-4P.</p>
<p dir="ltr">The EOS C700 and EOS C700 PL are currently expected to go on sale in December 2016, while the EOS C700 GS PL is currently expected to go on sale in January 2017. The EOS C700 and EOS C700 PL will have a list of $35,000.00 each** and the EOS C700 GS PL will have a list price of $38,000.00**.</p>
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Canon EOS M5 Coming Before Photokina [CR3]

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We’re told that we’re going to see the Canon EOS M5 announced before Photokina.</p>
<p>Canon EOS M5 known specifications:</p>
<ul>
<li>24.2mp (80D sensor or some variant, we’re 90% sure on this)</li>
<li>Built-in electronic viewfinder</li>
<li>A new AF system (Could be the best new feature of the EOS M line)</li>
<li>A more classical camera design, more in line with Fuji or Olympus</li>
<li>EF-M 18-150mm f/3.5-6.3 IS STM coming alongside the new body</li>
<li>September 15, 2016 announcement (We’re 90% sure on this)</li>
</ul>
<p>Once we hear more, we’ll pass it on.</p>
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EOS 5D Mark IV Real World RAW Files Available For Download

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<a href="http://froknowsphoto.com/canon-eos-5d-mark-iv-raw-files/">Jared Polin aka FroKnowsPhoto</a> has made available a series of real world DNG files taken with the EOS 5D Mark IV for you to play with. The files are DNG because the CR2 files are not yet supported by Lightroom and you cannot download a working copy of DPP at this time, so there won’t be any playing around with the Dual Pixel RAW feature.</p>
<p>The files you can download will give you a good idea about noise and high ISO and how much latitude you may have with the files.</p>
<p><a href="http://froknowsphoto.com/canon-eos-5d-mark-iv-raw-files/">Download the DNG files here</a></p>
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5D4 Dual-Pixel RAW Image Microadjust comparison to AFMA posted at DPR

https://www.dpreview.com/news/1177471835/testing-image-microadjust-on-the-canon-5d-mark-iv

Interesting -- I'm sure we could pick apart the methods (it is DPR after all), but they've pushed the limits of the Dual-Pixel RAW Image Microadjustment up against good ol' fashioned AFMA to scale the amount of focus correction possible in post with DP RAW. I'll give them credit, it's a simple and clever way to frame this up without just handing us a gallery of pre-/post-correction shots.

"However, the degree of correction we're seeing is so small (on the order of -2 to +2 in terms of traditional AF microadjustment) that we wonder whether it's worth the effort of incorporating DPP into your workflow, especially given its slow performance even on a fast computer. Or the doubling in file size."


They completely drive past the stories this week that Adobe will just directly bolt this functionality into their much-more-widely-used traditional LR / ACR tools, but here's their rough swag for the scale of what you can do with focus in post.

- A

5D4 Studio ISO comparison shots added at DPR!

5D4 ISO comparison tool posted at DPR:

https://www.dpreview.com/reviews/image-comparison?attr18=daylight&attr13_0=canon_eos5dmkiv&attr13_1=canon_eos5dmkiii&attr13_2=nikon_d810&attr13_3=sony_a7rii&attr15_0=jpeg&attr15_1=jpeg&attr15_2=jpeg&attr15_3=jpeg&attr16_0=100&attr16_1=100&attr16_2=100&attr16_3=100&attr171_3=off&normalization=full&widget=1&x=0&y=0

- A

Time Lapse Sequences with the Canon EOS 5DS/R, but not in-camera?

Hi,
I´m aware that the 5Ds/R has an 1) Intervalometer and also a 2) Time Lapse Movie function in order to produce Time Lapse in-camera.
I´m also aware that the process produces a movie at 1080p resolution using the ALL-I codec at 29.97 fps (NTSC) or 25 fps (PAL), in-camera.
"These will be highly compressed with much less latitude than the still image option. The file resolution differences are astounding at 50MP versus 2MP", as far as I could read.

Is it possible to take the images out of the camera and produce the final movie in a computer (which application works best for Mac?) using the 50MP stills and keep all the information?

In terms of size of the final movie (K) what "K" are we talking about here based on FULL RAW mode 50MP stills, the MRAW mode with 28MP stills and the SRAW 12MP, of that camera?

Thank you.

5D Mark IV HDMI 1.3 port ...what?

Fresh from the the twitter channel:

"@CanonProNetwork Why no 4K over HDMI out? Why HMDI 1.3? Why the huge crop factor? Why that old codec? Why UHS I? #5DMarkIV #AskCanon"

Their reply on twitter:
"@xxx @xxx the 5D IV only has a Full HD hdmi output as HDMI 1.3 chips only where available during the design phase"

Locking at the release dates on wikipedia (https://de.wikipedia.org/wiki/High_Definition_Multimedia_Interface), the HDMI 1.3 came out in 2006, HDMI 1.4 came out in 2009. Even the 1.4b is out already out since 2011

I am a bit shocked now.

Tamron to Announce 150-600mm f/5-6.3 Di VC USD G2

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<p>It’s being reported that Tamron will be announcing an SP 150-600mm f/5-6.3 Di VC USD G2 ahead of Photokina. The lens will be compatible with Canon & Nikon mounts, as well as a non-VC version for Sony. We’re not sure if this would be an update to the current version or an addition to the Tamron lineup.</p>
<p><em>There’s probably more to come from Tamron.</em></p>
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Canon Develops Global Shutter-Equipped CMOS Sensor

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<strong>TOKYO, August 31, 2016</strong>—Canon Inc. today announced that it has developed a new CMOS sensor equipped with a global shutter function that, because it exposes all of the sensor’s pixels at the same time, enables the capture of distortion-free images even when shooting fast-moving objects. Employing a new signal-readout drive system and new pixel structure that significantly expands the full well capacity and reduces noise, the sensor contributes to high-image-quality video capture by making possible the realization of a wide dynamic range.</p>
<p><strong>Distortion-free image capture when shooting fast-moving objects

</strong>Standard CMOS sensors make use of the rolling shutter method, which sequentially exposes the pixels one row at a time. Because rolling shutters can create slight discrepancies in signal-readout timing depending on the location of the pixel, images of fast-moving objects may appear distorted and flash photography may result in the occurrence of the flash band phenomenon, in which the upper and lower portions of images display different levels of brightness. Because Canon’s newly developed CMOS sensor employs a global shutter; when shooting such fast-moving objects as a rotating propeller or a speeding train, subjects are able to retain their proper form to create distortion-free images. Enabling the confirmation of object shapes with a high degree of accuracy, the sensor offers potential benefits in industrial applications, including as a sensor for use in inspection cameras.</p>
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<p><strong>Wide dynamic range realized through new proprietary drive method and pixel structure

</strong>When the newly developed CMOS sensor converts light into electrical signals and stores the signal charge in memory, the new drive system achieves a significant expansion in full well capacity. Also, because it employs a structure that efficiently captures light and each pixel incorporates an optimized internal configuration, the sensor makes possible increased sensitivity with reduced noise. The expanded full well capacity, realized through the sensor’s new drive system, and substantial reduction in noise, enabled by the new pixel structure, combine to deliver a wide dynamic range, facilitating the capture of high-image-quality, high-definition footage even when shooting scenes containing large variances in brightness.</p>
<p>Canon will explore various industrial and measurement applications for the newly developed CMOS sensor and consider deploying it in the field of video production for cinema production applications, TV dramas, commercials and more.</p>
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Well, I injured my EF 70-200 f/2.8L IS II

In another month or so I'll be able to get out and shoot again. Physical therapy is almost over with and I am feeling strong.

Today I was going through my gear and making sure my lenses were clean. As I was checking my 70-200 I dropped it about 3 feet and the front element got scratched. :'( Nothing else seems wrong at this point.

The scratches don't seem to affect the photo quality, but it still sucks to see those there. I'm also wondering whether it may have decentered the elements inside.

Fortunately, I did buy the New Leaf 5 year protection with drops and spills through Adorama. Normally I do not buy extended warranties, but since this was an expensive purchase with a decent probability of dropping I paid the $109.

I'm probably going to send the lens in, but I'd like to hear from anyone else who has used the New Leaf drops and spills warranty. Were you satisfied?

I do not have renter's insurance and there is no deductible on the New Leaf policy.

While it would not have helped in this case, I think I am a new believer in putting a clear glass filter on for front element protection.

Thanks guys!

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