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  • Poll Poll
135mm f/2 L vs 70-200mm f/2.8 L IS II USM

Which image do you prefer:

  • I prefer the rendering of the image on the left

    Votes: 4 16.0%
  • I prefer the rendering of the image on the right

    Votes: 11 44.0%
  • I see no obvious difference in rendering

    Votes: 10 40.0%

Over the past weekend I attended a fashion photography workshop which was hosted by Canon South Africa. I got to shoot with a 5Ds, a DSLR I am seriously considering buying depending on how the 5D-IV will be spec'ed. I found this a good opportunity to put a few lenses under the cosh.

My primary concern was doing some sort of real world comparison between the EF 135mm f/2 L USM and the EF 70-200mm f/2.8L IS II USM. I'm not concerned with ultimate sharpness with these images. I got the 5Ds at the event, so had no time to do AFMA. I found both lenses front-focused slightly, which could easily be corrected with AFMA if this was my camera. I also know from test charts that both are excellent when properly focused.

Technical stuff:
The 70-200mm shot was with IS mode 1 and reportedly taken at 190mm f/2.8
The 135mm image was taken at f/2 (scaled for same subject size as the 70-200 shot)
Shutter speed was 1/160s for both images and camera was in auto ISO.

So, which image do you think is rendered better?

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70-200 f/4: IS or non-IS

i want to get a 70-200 f/4 since i already have a 2.8 (not one that would be expected :P ) but it's too heavy for taking it backpacking.
I know the IS version has a revised optical formula and from what i can tell from the IQ comparison on TDP, there is a slight advantage for the IS version, but only at 200mm...
my question is: is the IS version worth it over the non-IS? is that slightly better IQ @ 200mm visible in real life?

I have seen comparisons only between the 2.8 non-IS and 4 IS, since these are about the same price...

AF assit slows camera AF again!!

A few years ago when I upgraded to the 5d3 and 600ex-rt flashes I was frustrated when I found that the AF assist beam caused the camera to slow when it acquired focus. I started a post about it and a few others had the same issue. Canon issued a firmware update and the problem was solved. You can look that the thread here:

http://www.canonrumors.com/forum/index.php?topic=10275.0

I received the 1dx2 in May and have shot several weddings and receptions with it so far. During each reception I have shot, I have been a little thrown off with the AF speed with the 600ex and AF assist enabled. It is just a hair slower. It is nothing like the previous issue I had with the 5d3 and the 600ex, but it is still an issue for me. I have tuned it on and off several times and every time it is off, the focus is instantaneous and when it is on it hesitates a little. It will find focus instantly, but it doesn't allow me to fully press the shutter release instantly, which bothers me. I end up having to wait that extra moment and I don't like it. I know I can further prioritize the release of the shutter over the focus, but then I run the chance of getting slightly out of focus shots. I am curious if anyone can confirm if they are having the same issues. Again, it is ever so slight, but it bothers me that it is an issue at all. The AF assist should make the AF faster, not slower.

EOS 80D RAW noise - some thoughts/observations

Having in the past been lazy & shot RAW+jpeg with the purchase of the 80D thought it was about time to shoot RAW only.

On my first outing with the 80D to an airshow (RIAT), looking at my shots via Faststone viewer I was rather pleased with them even at 100% however I'd failed to realize at first that what I was seeing is I presume an embedded jpeg preview as when viewed in Photoshop or Lightroom the noise is very visible at 100%.

Admittedly the shots that showed the most noticeable noise were of grey planes against a uniform grey sky but even others still exhibited quite a bit of noise. At first I was somewhat disapointed considering the 80D was reported to have reasonably low levels of noise.

When I began to think about it some more though:

Obviously a 25MP shot at 100% would be the equivalent of an enormous print & even on the worst examples, at 50% the noise was all but invisible so in practical terms not a problem & easily removed in post processing.

I then compared these shots and some test shots I'd made in better lighting conditions with those taken on an 18MP EOS 100D and when viewed at 100% there was little difference in noise between the two despite the larger file size of the 80D

Jpeg files have noise removed as part of the in camera processing.

Finally I compared some Jeg & RAW files from my 6D - with the 6D there really is little difference between the two viewed at 100% showing how good the noise levels on the 6D are.


I guess the conclusion I get from all of this is that a RAW file from a 25MP cropped sensor will always exhibit a degree of noise and if it doesn't show at normal viewing sizes, I shouldn't worry too much!

One shot along with a portion of 100% crop for info (although even posting here has lessened/smoothed the effect of the noise on the 100% crop):

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Nikon 105mm F1.4 Announced

http://www.nikon.com/news/2016/0727_lens_01.htm

https://photographylife.com/nikon-105mm-f1-4e-ed-announcement

Hokey Freaking Pow.

Not only is this the biggest Bokeh monster shorter than 200f2, but just look at those MTFs!

If anything costing $2,000 could be called a bargain, I'd say this probably qualifies.

It almost makes me want to pick up a cheap body just to try one. Hopefully Sigma doesn't take too long reverse engineering it.

DigitalRev Posts Pages for Upcoming Canon Products

HTML:
DigitalRev has posted product pages for the upcoming Canon EOS 5D Mark IV, EF 24-105mm f/4L IS II and EF 16-35mm f/2.8L III.</p>
<p>I don’t think this is anything more than trying to build some preorder hype for the announcements at the end of August, as here are no specifications on any of the product pages. I do not believe DigitalRev is an authorized Canon retailer (correct me if I’m wrong), therefore wouldn’t be part of any official advanced retailer notice which can happen.</p>
<p>For what you can expect to see from Canon, you can check out our updated <a href="http://www.canonrumors.com/updated-canon-2016-roadmap/">Canon roadmap here.</a></p>
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Patent: Tamron 10-24 f/3.5-4.5 VC

HTML:
The optical  formula patents keep on coming from Tamron ahead of multiple Photokina announcements next month. This time it’s a 10-24mm f/3.5-4.5 for APS-C sized sensors.</p>
<p>Patent Publication No. 2016-126280</p>
<ul>
<li>Published 2016.7.11</li>
<li>Filing date 2015.1.8</li>
<li>f 10.303 15.199 23.483</li>
<li>FNO = 3.6 -. 4.1 – 4.6</li>
<li>2ω = 111.70 – 86.59 – 62.07</li>
<li>Negative positive and negative positive</li>
<li>Anti-vibration (third group)</li>
<li>Inner focus (rear group of the first group)</li>
</ul>
<p>It’s looking like a busy fall for Tamron, and we’re hoping for the same from Sigma.</p>
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3500 Kelvin to balance red and blue?

Question regarding the Canon 5D3:

It is correct that setting white-balance to 3500K will result in a similar scale-factor (the multiplier value) between the red and blue channel?

Or in other words; is the color-filter-array over the sensor (the RGB color-filters) physically balanced for 3500K rather than daylight?

If so, what kind of impact does this have on the colors of the image, compared to if the CFA was daylight-balanced?
(does it define the cameras metamerism-qualities only, or does it have a greater impact on the look of the photos in terms of color?)

Any info you may have on this is welcome (including links that talk about this in detail)
Thanks
jacob.

Stand to Hold Diffusion Panels?

Hello, all. I am DIY'ing a few diffusion panels that will range in size, the largest being 4' x 4'. I do not have any experience with stands, so I'm wondering if anyone can offer advice on a stand/grip type set up that I can use in a studio setting... Appreciate any thoughts on this. (The panels will not weigh much at all, but will be pretty rigid, as I imagine the Lastolite panels are. Of course handling can be a little awkward). Thank you.

6D Sudden Hang Issue

Hi all!

Is anyone here having any issue with Sudden Hang of your 6D?

I used my 6D for street photography today for around 7 hours (on and off, I set timer of 1 minute auto shut down), GPS is always on, Wifi is only on for one time less than 10 minutes.

My 6D Hang out of sudden while I wanted to take a shoot after 7 hours use.

The camera do Not autofocus, I pressed all buttons that I could found from camera, the camera got no response even I off the camera and on it again.

End up I took the battery out and insert again and on the camera, it back to normal.

But I found one photo been shoot while the camera is Hang. (Remember I press all buttons when its Hang?)

Do you all think I need to send to service center for check up?

Will it link to bigger problem later on?

Please help.

Thank you.

7D II 6.5 stop recovery from RAW vs Jpeg

I was shootingi a pro soccer game and using my 7D II as my 2nd camera. I set both camera's to my preferred night setting for this stadium where I shoot very often. 1/1250, f2.8 and ISO Auto, and RAW + JPG. I use ISO auto because at night the stadium's lights are terrible and there are dark patches here and there. About 10 shots into the first use of the 7D II I saw the exposures were black. Lens cap? No, ISO was accidentally set to 100, not A. Not a huge deal, I shot about 750 pics and this was just 10, none of them critical moments in the game.
So the next day I thought just for fun let me see if I can recover those picks, and as I have a matched set of RAW and JPG, I'll do a side by side. I picked the best action photo, and spent about 1 minute on each file, and ended up adding 6.5 stops to both photos, then doing a little color correction. So using Photoshop CC 2015.5, the are the results:


SE9A9426_2 copy
by RexPhoto91, on Flickr


Untitled
by RexPhoto91, on Flickr


SE9A9426j
by RexPhoto91, on Flickr

-------------------------------------------------------------------------
And finally here is a correct exposure at ISO 6400 for comparison:
Untitled by RexPhoto91, on Flickr

Canon EOS 5D Mark IV to be 30mp? [CR1]

HTML:
<p>We’re told that the Canon EOS 5D Mark IV will come out with a 30mp sensor. This is the first time we’ve heard of such a resolution, but it does come from a “retail source”. We’re cautious that it could be a number that was rounded up or rounded down, because the most popular megapixel counts have been 24 and 28.</p>
<p>30mp would be a nice number for a lot of people and put some breathing room between the EOS-1D X Mark II and 5D Mark IV. The 6D Mark II would fit nicely around 24mp.</p>
<p>We hope to hear more soon, and please take this one with a heavy pinch of salt.</p>
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Lens calibration

I own two 6Ds. Both have very good focus with most of the 6 lenses I own. However, my 24-70 f/2.8L II is 'off' on both. I want to join CPS just generally to have my gear serviced occasionally... but I'm wondering about having my 24-70 calibrated. Can they calibrate just the lens, or do I need to send one or both cameras in at the same time?

Review - Do You Need or Want 50mp? Canon EOS 5DS R

HTML:
Dustin has completed the Canon Rumors review of the Canon EOS 5DS R, a camera that a lot of Canon photographers asked for and is probably the most polarizing DSLR in terms of need that I’ve ever come across.</p>
<p><strong>Do you need 50mp?</strong></p>
<blockquote><p>…. that is the conundrum of the 5DsR. It is a great camera, but it is also a niche one. If you need 50MP, it’s not only the best 35mm option; it’s currently the only one. But if you don’t really need 50MP, look elsewhere, as that amount of resolution comes with a cost. I suspect the biggest market for the Canon EOS 5Ds/5DsR twins will be in the bags of photographers who don’t use them as their sole cameras and are able to use them in the way they intended: special tools for specific jobs. <a href="http://www.canonrumors.com/reviews/review-canon-eos-5ds-r/">Read the full review</a></p></blockquote>
<p>I do want a high megapixel body and I like the 5DS and 5DS R, but I’m more interested in a camera with a larger than 35mm sensor. Hey Leica, howabout a 50-80mp S?</p>
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Giveaway! Win 1 of 2 Cineo Matchbox Kits ($495 Value)

HTML:
<p><strong>Enter to Win 1 of 2 Cineo Matchbox kits valued at $495 each</strong></p>
<p><em>2 winners will receive a Basic Matchbox Kit, which includes: (1) Matchbox fixture, (2) interchangeable Remote Phosphor panels (3200K/5600K), and (1) power supply and extension cable. </em></p>
<p><strong>About the Cineo Matchbox:</strong>

The Cineo Matchbox™ is a versatile, portable Remote Phosphor Lighting fixture for image capture, the perfect compact lighting tool for professional photographers and videographers. At 3.25” x 5.25” x 1.5” and 15 oz, the Matchbox outputs a stunning amount of high-quality light at a variety of interchangeable color temperatures. Matchbox features a 0-100% on-board flicker-free dimmer and a 1/4×20″ tap for limitless mounting options. Learn more at <a href="http://www.cineolighting.com/matchbox" target="_blank">cineolighting.com/matchbox</a>.</p>
<p><em>We’re giving away one (1) Cineo Matchbox Kit to two (2) lucky winners.</em></p>
<p>Giveaway ends August 1st, 2016, 9pm CT and is open to residents worldwide.</p>
<p><strong><a href="http://giveawayrocket.com/CRcineoblogpost">Enter the giveaway now</a></strong></p>
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Nikon Announces The AF-S NIKKOR 105mm f/1.4E ED

HTML:
MELVILLE, NY – Today, Nikon Inc. is celebrating a momentous NIKKOR production milestone as well as the announcement of the AF-S NIKKOR 105mm f/1.4E ED, a premium lens for the most discerning photographers. This luxurious new medium-telephoto lens is engineered to help create flattering images with gorgeous bokeh, while delivering impressive sharpness and beautiful color rendition. As a testament to a lasting legacy of high-caliber lenses, Nikon has also announced that NIKKOR lens production has reached the landmark achievement of 100 million units produced worldwide.“Surpassing the 100 million lenses produced milestone is a great honor and a testament to the photographers who both love and rely on NIKKOR glass to get the job done,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “The AF-S NIKKOR 105mm f/1.4E ED represents the embodiment of the NIKKOR line of high-quality lenses, giving photographers a robust, well-balanced lens that provides intense sharpness, astounding image quality and background bokeh that is sure to be a favorite among portrait photographers.”</p>
<p><!--more--></p>
<p><strong>Captivating Image Quality</strong></p>
<p>The AF-S NIKKOR 105mm f/1.4E ED is a fast, full-frame (FX-format), medium-telephoto prime lens and is the world’s first<sup>1</sup> to strike the impeccable balance of 105mm focal length and large f/1.4 aperture for a truly outstanding optic. This new NIKKOR lens is ideal for professional and advanced enthusiast photographers, especially those capturing portraiture, from in-studio fashion to a golden hour engagement session on the beach. These users will love the precise sharpness from this fantastic glass, which provides a flattering compression to subjects with a sensational, sultry bokeh. Beyond the gorgeous image quality lies stellar resolving power, especially when used with Nikon DSLRs such as D5, D810 or D750.</p>
<p>The 105mm f/1.4E is a fast lens with endearing character, providing stellar optical performance, even in the peripherals. Sharp rendering is attained for shooting distant subjects throughout the aperture range – from maximum aperture to being stopped down by several stops. Gradual alteration from the focal plane helps render subjects in high-fidelity with a natural depth, giving colorful portraits and landscapes that little bit of extra “pop” to help create a truly distinct image. The AF-S NIKKOR 105mm f/1.4 is also an excellent choice for low-light photography, as its large maximum aperture allows photographers to shoot at the fastest possible shutter speeds. Additionally, this lens can reproduce point light sources faithfully without sagittal coma flare, even on the edges of the frame.</p>
<p><strong>Masterful Lens Construction

</strong>Decades of precision, knowledge and experience are put forth into every NIKKOR lens, and the AF-S NIKKOR 105mm f/1.4E ED is an exceptional example of brilliant craftsmanship and Nikon technologies merging. Packed with the latest advanced optical innovations, the 105mm f/1.4 features Nikon’s electromagnetic aperture control technology for consistent exposures, even during high speed continuous shooting.<sup>2</sup></p>
<p>On the outside, solid build quality is well-balanced for all-day shooting, while the lens is sealed and gasketed to resist dust and moisture. Additional Fluorine coatings are used on the front and rear elements, so that smudges, dirt or moisture are easily removed. Inside the lens, the optical formula consists of 14 elements in nine groups, which include three ED glass elements. A 9-blade diaphragm further helps to create a circular, pleasing out of focus area. The lens also features Nikon’s Nano Crystal Coat technology to significantly reduce instances of ghosting and flare.</p>
<p>The new AF-S NIKKOR 105mm f/1.4E ED joins other NIKKOR f/1.4 lenses in the Gold Ring Series, which include only premium primes with Nano Crystal Coat and pro-grade build quality. These other lenses include the AF-S NIKKOR 24mm f/1.4G, AF-S NIKKOR 35mm f/1.4G, AF-S NIKKOR 58mm f/1.4G, AF-S NIKKOR 85mm f/1.4G.</p>
<p><strong>A Landmark in the NIKKOR Legacy</strong></p>
<p>Nikon is also pleased to announce that the total production of NIKKOR lenses for Nikon interchangeable lens cameras reached the landmark 100 million milestone in mid-July 2016.</p>
<p>With a robust line-up of high-quality lenses for all types of photographers, the NIKKOR name has become synonymous with a rich history of superior lenses. Nikon continues to introduce new NIKKOR lenses that further optical technology, utilizing cutting-edge techniques and knowledge from experience cultivated over its long history. Such revolutionary advancements include Nano Crystal Coat, which acts as a powerful anti-reflection coating, and significantly reduces instances of ghosting and flare.</p>
<p>More recently, NIKKOR lens technologies such as the use of Phase Fresnel (PF) and Fluorite elements have helped to create smaller and lighter lenses with superb balance and handling. Many NIKKOR lenses now also feature a Fluorine coat that helps repel a variety of contaminants such as dust, dirt, water, oils and grease. The introduction of an electromagnetic diaphragm has also helped to create lenses that provide consistently crisp exposures, even during high-speed shooting.</p>
<p><strong>Pricing and Availability</strong></p>
<p>The AF-S NIKKOR 105mm f/1.4E ED will be available in late August for a suggested retail price (SRP) of $2,199.95<sup>3</sup>. For more information on Nikon’s latest products including their newest NIKKOR lenses, please visit <a href="http://www.nikonusa.com/">www.nikonusa.com</a>.</p>
<p><em>1: Among AF lenses for digital SLRs compatible with FX-format image sensor; as of July 27, 2016; statement based on Nikon research</em></p>
<p><em>2: The lens incorporates an electromagnetic diaphragm mechanism. The following cameras are compatible with this lens: D5, D4 series, D3 series, Df, D810, D810A, D800 series, D750, D700, D610, D600, D500, D300 series, D7200, D7100, D7000, D5500, D5300, D5200, D5100, D5000, D3300, D3200, D3100, Nikon 1 J1, J2, J3, J4 with FT-1, Nikon 1 V1, V2, V3 with FT-1, Nikon 1 S1, S2 with FT-1</em></p>
<p><em>3: SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.</em>

<em> </em>

<em>Specifications, equipment and release dates are subject to change without any notice or obligation on the part of the manufacturer.</em></p>
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Patent: Tamron 20mm f/2 VC

HTML:
Tamron continues with the barrage of patents, this time a patent for a 20mm f/2 VC optical formula has been found.</p>
<p>Patent Publication No. 2016-126279 (Google Translated)</p>
<ul>
<li>Published 2016.7.11</li>
<li>Filing date 2015.1.8</li>
<li>f = 20.60</li>
<li>FNo. = 2.05</li>
<li>ω = 46.81</li>
<li>Ym = 21.633</li>
<li>BF 38.2971 – 38.3188</li>
<li>Negative ShiboTadashi</li>
<li>Rear focus</li>
<li>Bofu (part of the first group)</li>
</ul>
<p>This lens would make a lot of sense when you consider Tamron’s recent prime lens releases such as the VC, the 35 f/1.8 VC, 45 f/1.8 VC and the superb 85 f/1.8 VC.</p>
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