300 2.8L lens cover fit question

I have the old 300 2.8 L USM (the NON-IS) lens, and my question is - does the E-145C lens cover currently on sale for the 300 2.8L IS2 fit on my lens? Based on the numbers, the E-145C might fit but have a somewhat loose fit on my 300 2.8 NON-IS lens. Anyone tried?

EF 300 2.8 L -
lens cap E-137
lens hood ET-118 / ET-118 II

EF 300 2.8 L IS -
lens cap E-145
lens hood ET-120

EF 300 2.8 L IS II -
lens cap E-145C
lens hood ET-120(W II)

Flash/Camera Setup for Backstage events with bad lighting no bounce advice.

Behind The Scenes at Fashion Week

I'll be doing my first Fashion Week event assignment. I'll be doing behind the scenes at a number of shows and it can go from very dark to somewhat bright in the working areas. I'm looking for advice as likely not to shoot in manual oh, & I know things will be going pretty fast. I'll be using a 600 X and right now I have a large roguebender. Ill likely have two bodies- a 501.4 on a 5d3and a 35f2 on a 6D (6d high iso should rock here especially)

In these kind of situations with no backlight, is it good to keep the flash set upward and the road with the roguebender and on ETTL? With lighting like that I will tend to keep the camera on Av + 640iso unless there's plenty of light in a given situation. There will also be step and repeat walls but I don't expect many of those especially inside.

I'll be using second shutter sync since the flash will be on camera, and portrait shots I'll keep to a minimum I'm thinking because the rogue bender is really not that great for portrait images.

TTL has been very miss more than it for me and I'll have limited or no ability to test beforehand Even thinking about gary fong tupperware.

All advice from those experience in these situations is highly appreciate it.


+++- Is compact flash better for burst photos? Ive tried a couple of servo burst situations and ive gotten about one sec out of i before it slows down. I use sdxc cards, usually about 40MB write speeds.



Thx

new 6D - a little help

Hi

I'm getting used to and thoroughly loving my new 6D.

I've measured the noise and gain, and lo and behold it seems to be a fraction of a stop better than published data suggesting I got lucky.

What I have noticed is the "blinkies" seem to be a little over nervous.. i.e. it claims to be clipping maybe as much as 1/3rd of a stop before it really does so. Ideally I'd like it to actually tell me the exact point of clipping. I'm shooting RAW + Ljpeg at the moment

Also on processing, I'm finding dealing with 20Mpix as opposed to the 8Mpix previously is making processing painful.

Now my main machine has a measly 4G of ram with an Intel core2 DUO T6570 2.1G processor, so a memory upgrade is likely to bear fruit.. but how much is really necessary or am I processor limited... any ideas?, (currently using DPP3/4 & CS2.. very likely to jump to lightroom) also I tend to end up with firefox, tbird, dpp and something else all running at the same time.

thanks for any suggestions

Possible 1DX2 silent shutter sound?

A number of us are waiting to hear what the silent shutter mode sounds like and I may have found it. Hopefully anyone that can speak Russian might be able to confirm what the presenter is saying.

Found this video and at 2:28 you hear the full 14fps and at 4:25 to 4:53 you hear (what I believe) may be the silent shutter mode and then again in live view.

I may well be wrong about what is being said but thought I'd post this in a new thread rather than let it "drown" in in one of the existing ones.

https://www.youtube.com/watch?v=C61Nf2StRfA

Considering an upgrade from the original 7D

Hello all, I currently own and use an original (MkI) 7D body, and I'm sure like many before me am in a bit of a dilemma about where to go next regarding an upgrade. What I'm interested to know from anybody who has owned and used the MKI and II 7D's is, disregarding any improvements made to the 7D MkII AF over the MkI, how much better is the basic image quality- i.e, at base ISO for landscape and in low light/ high ISO, in both JPEG and RAW? I've seen it said that the MkII has better sharpness than the MkI?

If the MkII image quality is a reasonable improvement over the MkI then I may consider that as an upgrade route, what I'd really like is a 5D MkIII but it's just too much money to justify really, especially for a hobby, and after the 7D I think I'd find the 6D just a bit lacking in features, AF and build, though not of course image quality. I could keep my 7D and get a 6D to complement it but I'd rather just have one body as I'm not really wanting to lug two bodies around. I shot a variety of subjects, especially landscape, which is why full frame is the obvious choice, but also moving subjects like trains, children etc.

Any input welcome, especially regarding how the image quality compares from the MkII 7D & the MkI!

Thanks! :D

Two more XEEN Lenses Announced by Samyang

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<p><strong>SEOUL, February 5th, 2016</strong> –Global optics brand, Samyang Optics, has announced the release of 2 new lenses: XEEN 14mm T3.1 and 35mm T1.5. These two lenses, along with the existing 24mm T1.5, 50mm T1.5 and 85mm T1.5 lenses, create a perfect balanced five-lens-set for filming video and cinema with the outstanding image quality from resolving power for 4K+ production.</p>
<p>XEEN is a specialized brand in professional video-cine lens launched by Samyang Optics in 2015. The XEEN lenses are designed with Samyang Optics’ know-how and have outstanding optical performance for 4K+ with the X-Coating Technology, ensuring maximum image quality to create a cinematic look.</p>
<p><!--more--></p>
<p>The 24mm x 36mm negative size allows XEEN to not only work with full frame cameras, but also with Super 35, APS-C and APS-H cameras. The lenses are available in five different mounts – PL, EF, F, E, and MFT and two different focus scales – metric and imperial units. Also, the aluminum metal housing is known for its reliability in various shooting conditions.</p>
<p>Most of the XEEN lenses come in a bright T1.5 aperture. The lenses deliver high quality footage with clear contrast and impressive colours, even under less-than-optimal lighting conditions. The large aperture also creates a pleasing bokeh effect for a cinematic look.</p>
<p>“Thanks to the rise of multi-channel networks, the demands for video creation is internationally surging and the expectation of video quality is also increasing,” stated a XEEN official. He continued, “to satisfy the international needs, we have completed the first five lenses which deliver a high-quality cinematic image.” As an answer to the future product plan, he carefully disclosed that two more XEEN lenses will be announced in the second half of the year.</p>
<p>Created to deliver infinite possibilities, XEEN14mm and 35mm lenses will be globally available in early March. The recommended retail price of each lens is £1599.00 inc VAT.</p>
<p>More detailed product information is available on the official website (http://www.xeenglobal.com) and Facebook (http://www.facebook.com/xeenglobal) or Samyang Lens Global Facebook (http://www.facebook.com/samyanglensglobal).</p>
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"weather sealed" != "impervious to salt water"

Just read this on PetaPixel:

http://petapixel.com/2016/02/05/shooting-a-winter-storm-killed-my-canon-7d/#more-202201

I don't understand how anyone can be so incredibly stupid. This misconception has been hashed out many times before: "weather-sealed" does not mean that you can let ocean waves hit your camera. Salt water is not rain and it is not weather.

And then, the other mistake is to think that all L lenses are "weather-sealed." Anyone who has owned an 85/1.2L knows that's not true.

To make it even worse, going back and rinsing the body and lens when salt ingress has already occurred, in the misguided belief that (1) tap water doesn't have any dissolved minerals itself; and (2) you can get enough water into the components to rinse away the corrosion?

Finally, sticking the whole thing in bags of rice? WHY do photographers spread around these stupid hacks? A large canister of silica gel put in an airtight, evacuated container with the camera, taking it out and heating it to 325 F to recharge it every 24 hours, will absorb more moisture more quickly than rice.

The repeated implications that his 1D2 survived just fine, therefore the 7D must have inferior sealing, is also galling. The 7D isn't a pro body and it's not expected to have the kind of sealing that a 1-series body needs, but that doesn't mean that it's not "weather-sealed." It just means that Canon sees fit to provide in their flagship bodies a level of sealing that goes above and beyond that needed to guard against damage from typical adverse weather, given the cost and the target market (pro shooters).

Part of the thing that irritates me as a photographer is how personal anecdotes and bad advice get passed around as if they were gospel truth. This guy got exactly what he deserved for his ignorance and misinformation.

  • Locked
D500 release pushed back

http://www.dpreview.com/news/5363993130/nikon-d500-wont-ship-until-end-of-april

In a statement:

"The camera is actually ready to go. But we now realize that offering a crop camera with ISO to expandable to 1,600,000 was prooooobably a bit rash. Let's face it, we were huffing some really strong paint fumes when we let marketing tuck that little nugget into the release document. So we are simply delaying until April as a cool-down period for sanity's sake. Hopefully by then, birders and sensor fanboys will no longer be in a rabies-like lather about shooting Sasquatch in complete darkness.

Also: Our bad. See you in April. We'll be in hiding until then."


- A

This has me tempted to try a Sony A7 camera. :)

There is a lens adapter being made that allows for drop-in filters on Sony A7 cameras. If I put a Nikon 14-24 on there, I could use filters without having to carry a huge and clunky front filter kit. The weight saving of the entire camera would come down by a large margin. Very tempting to look into for my long-distance landscape photo hikes. Now to just get over the poor battery life and poor controls of the A7 cameras... ;)

http://dc.watch.impress.co.jp/docs/news/20160204_742226.html?ref=prss

Canon EOS Rebel SL2 Coming for CP+ [CR1]

HTML:
The unicorn that is the Rebel  SL2 is now being rumored to be coming for CP+ at the end of February.</p>
<p>We haven’t heard anything about the SL2 in a long time, and it almost feels like people are assuming the SL1 is going to get an update. It sold well once it became heavily discounted, and maybe it has a big enough user base now to warrant an update.</p>
<p>The only DSLR we’re hearing about at the moment is the EOS  80D, although no one has told us when it would be announced, CP+ just seems like a good place to do it.</p>
<p> </p>
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Nikon Releases Q3 2016 Financials

HTML:
Nikon has released their financials for Q3 of 2016.</p>
<p>Revenue doesn’t appear to have gone up, but operating income has, to the tune of about 8% over Q3 of last year. I’m sure the accountants out there will have a far better summary than I do.</p>
<p>You can <a href="http://www.the-digital-picture.com/News/News-Post.aspx?News=17639" target="_blank">head on over to  The-Digital-Picture</a> for links to all the relevant information.</p>
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Sony Launches New G Master Brand of Interchangeable Lenses

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<strong>Three new models including 24-70mm F2.8 Zoom, 85mm F1.4 Prime and 70-200mm F2.8 Zoom deliver unrivaled imaging experiences </strong></p>
<p>NEW YORK, Feb. 3, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced their flagship G Master™ brand of interchangeable lenses.</p>
<p>Sony’s new brand includes three new E-mount full frame lenses including a 24-70mm constant F2.8 standard zoom, an 85mm F1.4 prime and a 70-200mm constant F2.8 telephoto zoom.   Representing the ultimate blend of high resolution and beautiful bokeh, the new lenses feature Sony’s innovative optical element technology, design and calibration.  This allows them to produce still image and video content with a level of detail and expression that has never before been possible.</p>

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<p><!--more--></p>
<p>“The new G Master brand represents the finest and most impressive group of lenses that Sony has ever brought to market,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics.  “With our knowledge of what the future will bring for digital imaging, we have designed these lenses and can ensure that the G Master brand will inspire and ‘wow’ photographers and videographers for years to come.”</p>
<p><strong>New FE24-70mm F2.8 GM Standard Zoom Lens</strong></p>
<p>Featuring some of the most advanced lens technologies in market today, the new FE 24-70mm F2.8 GM (model SEL2470GM) is the ultimate choice for those seeking the highest possible optical performance for portrait, travel and event photography or even simple everyday shooting<sup class="green">1</sup>.</p>
<p>The new lens is built with three aspherical elements including a newly developed, extremely precise XA (extreme aspherical) element that reduces aberration and delivers the ultimate resolution throughout the entire zoom range and aperture range, as well as from corner to corner of all image files. Additionally, an ED (Extra-low-Dispersion) glass element and Super ED glass element keep chromatic aberration to a minimum while maximizing resolution and bokeh without any unnatural coloration.</p>
<p>The lens features a 9-bladed aperture that maintains a near circular shape at all settings and is coated with Sony’s original Nano AR coating to suppress reflections and ensure spectacular contrast and clarity.</p>
<p>The new FE24-70mm F2.8 GM lens has a direct drive SSM (Super Sonic Wave Motor) focusing system that works with incredible efficiency thanks to a new set of algorithms that positions the lens elements quickly and accurately. The motor is smooth and quiet, making it an ideal choice for shooting both still images as well as movies.</p>
<p>To maximize usability, the lens is dust and moisture resistant and features a compact, streamlined design that includes AF/MF switch as well as focus hold, zoom lock and hood release buttons.</p>
<p>Two new matching filters for the FE24-70mm F2.8 GM lens have also been introduced, including the VF-82MP MC protector and VF-82CPAM Circular PL filter..</p>
<p><strong>New FE 85mm F1.4 GM Telephoto Prime Lens</strong></p>
<p>Designed as the ultimate portrait lens, the long-awaited new FE 85mm F1.4 GM telephoto prime lens (model SEL85F14GM) strikes a perfect balance between resolution and bokeh in a compact package.</p>
<p>The lens features a new XA (extreme aspherical) element as well as three ED glass elements that work together to ensure that the in-focus areas are captured in extremely high resolution while the surrounding out-of-focus areas dissolve smoothly into a beautiful soft backdrop. It has a circular aperture with 11 blades – the most ever used in an α lens – that ensures bokeh is smooth and visually appealing.  Externally, the new model has Sony’s original Nano AR Coating, which is of particular importance in a portrait lens as it reduces flare and ghosting, even with backlit subjects or similarly challenging lighting conditions.</p>
<p>For accurate autofocusing, the FE 85mm F1.4 GM lens includes a ring drive SSM motor system that provides ample power and speed to drive the lens’ large, heavy focus group. It’s also equipped with two position sensors to support flawless focus control of the large, heavy lens elements.</p>
<p>This new professional portrait lens is dust and moisture resistant and also has an aperture ring with on/off switchable click stops that can be adjusted based on whether a user is shooting still images or movies.  It also has an AF / MF switch and a focus hold button.<sup class="green">2</sup></p>
<p><strong>New FE 70-200mm F2.8 GM OSS Telephoto Zoom</strong></p>
<p>Covering the frequently used 70-200mm focal range, the new FE 70-200mm F2.8 GM OSS telephoto zoom lens (model SEL70200GM) offers extremely high rendering, AF performance and image stabilization, making it a versatile choice for shooting wildlife, sports, weddings and a variety of other events and locations1.</p>
<p>The new flagship telephoto zoom model delivers extraordinary sharpness and clarity throughout the entirety of its zoom range thanks to its three advanced lens elements including XA, Super ED and ED glass components, as well as its Nano AR coating.</p>
<p>The new FE 70-200mm F2.8 GM OSS lens features a floating focusing system – implemented in an α zoom lens for the first time – that contributes to an impressive minimum focusing distance of merely 0.96m and ensures AF performance is optimized during both still and video shooting. The lens includes a SSM (Super Sonic Motor) plus dual linear motors that work together to move large lens elements quickly – a task that requires a high level of drive control and ensures focus accuracy. The new model also has built in Optical SteadyShot™ image stabilization for capturing sharp, blur-free subjects at all focal lengths and a rotating tripod mount that allows the camera to be quickly removed from a connected tripod as needed.</p>
<p>The new 70-200mm telephoto zoom lens is dust and moisture resistant with an additional fluorine coating added to the front lens.  It also has a focus hold button as well as a focal range limiter.</p>
<p>Sony has also announced new compact 1.4x and 2x Teleconverters  – models SEL14TC and SEL20TC respectively – that offer even greater reach while maintaining the overall streamlined design and feel of the 70-200mm lens.<sup class="green">3</sup></p>
<p>Pricing and Availability</p>
<p>The new FE 24-70mm F2.8 GM Standard Zoom and 85mm F1.4 GM Telephoto prime lenses will be available in March for about $2,200 and $1,800, respectively.  In Canada, they will be sold for $2,900 CA and $2,400 CA, respectively.</p>
<p>The new 70-200mm F2.8 GM Telephoto Zoom Lens and its compatible 1.4x and 2x Teleconverters will be available in May.  Pricing is not yet available for these models.</p>
<p>The new G Master Series of interchangeable lenses will be sold at a variety of Sony authorized dealers throughout North America.</p>
<p><span class="green">1.      A software update may be required to provide compatibility of lenses with some cameras. See the Sony support site www.esupport.sony.com for additional details.</span></p>
<p><span class="green">2.      Limitations apply to AF operation when shooting movies with certain camera bodies. A software update may be required to provide AF compatibility of FE 85mm F1.4 GM with some cameras during movie shooting. See the Sony support site for lens/body compatibility details.</span></p>
<p><span class="green">3.      SEL70200GM is only compatible lens at the time of announcement</span></p>
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Sony Introduces New α6300 Camera with World’s Fastest Autofocus

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<strong>New Mirrorless Camera Features World’s Fastest AF speed<sup class="green">1</sup> and Highest Number of AF points<sup class="green">2</sup> plus Newly Developed 24.2 MP APS-C Sensor, High Resolution 4K video recording and more </strong></p>
<p>NEW YORK, Feb. 3, 2016 – Sony Electronics, a worldwide leader in digital imaging and the world’s largest image sensor manufacturer, has today introduced the latest addition to their award winning lineup of mirrorless cameras, the α6300 model.</p>
<p>The camera boasts an unrivaled 4D FOCUS™ system that can lock focus on a subject in as little as 0.05 seconds, the world’s fastest AF acquisition time1.  Additionally, the α6300 has an incredible 425 phase detection AF points that are densely positioned over the entire image area – the world’s highest number of AF points on any interchangeable lens camera<sup class="green">2</sup>, and can shoot images at up to 11 frames per second with continuous autofocus and exposure tracking,</p>
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<p>The impressive new mirrorless model also has the ability to  support full live-view continuous shooting on the Tru-finder or LCD screen at up to 8 frames per second, ultimately producing a real-time shooting experience that combines all the benefits of an electronic viewfinder with the immediacy of a through-the-lens optical viewfinder.</p>
<p>The versatile α6300 is equipped with a newly developed 24.2 MP (approx.. effective) APS-C sized Exmor CMOS sensor that works together with a BIONZ X image processing engine to produce outstanding image quality throughout the entire ISO sensitivity range ISO 100 – 51200 3.  It can also shoot and record high resolution 4K video with full pixel readout and no pixel binning in the popular Super 35mm format.</p>
<p>“The α6300 is yet another example of the dominant innovation that Sony continues to bring to the industry, especially from the mirrorless space,” said Neal Manowitz, Vice President of Digital Imaging at Sony Electronics.  “With this new model, we’ve combined the world’s fastest and most extensive AF system with a superb image sensor and many of our most advanced imaging and video technologies, creating a package that can far exceed the performance of any DSLR in its class.   This camera connects you with the action like never before.”</p>
<p><strong>Unrivaled AF Performance</strong></p>
<p>Sony’s new α6300 camera builds upon the acclaimed 4D FOCUS performance of the α6000 model, utilizing a Fast Hybrid AF system that combines high-speed phase detection AF with extremely accurate contrast AF and allows it to capture and lock on to moving subjects in as little as 0.05 seconds<sup class="green">1</sup>.  The camera’s High-density Tracking AF technology positions 425 phase detection AF points over nearly the entire field of view, allowing it  to accurately focus throughout a wide area – even on small, fast objects that other cameras would fail to recognize.</p>
<p>In addition to the extensive AF coverage, the α6300 debuts a new High-density tracking AF technology that significantly improves subject detection and tracking performance.  This new technology can quickly activate a large number of AF points surrounding a subject – approximately 7.5 times more density than the α6000 – and intelligently adjust them in accordance with the subject’s motion.  This is a particularly powerful feature when used with high-speed 11 fps continuous shooting or the new 8 fps continuous live-view mode, which provides 100% accurate framing for fast moving subjects on the LCD screen or viewfinder.</p>
<p>Of note is the fact that the camera’s 425 phase detection AF points, enhanced tracking and focus accuracy are all available on the α6300 when using A-mount lenses4 with a mount adaptor like the Sony LA-EA3.  This is a first for Sony E-mount interchangeable lens cameras with an APS-C sized sensor, as the only other cameras to feature this capability are the full-frame α7R II and α7 II models.</p>
<p>Other enhancements to the α6300 include silent shooting functionality the ability to use AF in focus magnifier mode, expanded flexible spot AF, Eye AF in AF-C mode and more.</p>
<p><strong>Powerful 24.2 MP Exmor CMOS Sensor and BIONZ X Processor</strong></p>
<p>In order to maximize efficiency and overall camera performance, the α6300 features a new 24.2 MP sensor that is an ideal match for its BIONZ X image processing engine.</p>
<p>The new image sensor employs copper wiring in its structure, which improves light collection efficiency and significantly accelerates readout speed. The BIONZ X processor features an upgraded image processing algorithm designed to maximize the sensor’s overall capabilities.  Together, the two key components work together to produce images with low noise and exceptional resolution in sensitivity settings up to ISO51200<sup class="green">3</sup>, in particular in the mid-to-high sensitivity range.</p>
<p><strong>Ultimate 4K Resolution and Other Professional Video Capabilities</strong></p>
<p>In another first for non-full-frame Sony interchangeable lens camera, the new α6300 offers internal 4K movie recording in Super 35mm format.  When shooting in 4K, the camera uses full pixel readout without pixel binning to collect 20 megapixels of information – approximately 2.4x<sup class="green">5</sup> (6K equivalent) as many pixels as 4K UHD and then oversamples the information to produce high quality  footage with exceptional detail and depth.</p>
<p>The camera utilizes the XAVC S codec<sup class="green">6</sup> during video shooting, which records at a high bit rate of 100 Mbps7 during 4K recording and 50 Mbps during standard Full HD shooting, ensuring maximum detail and clarity in both video formats.  Additionally, the camera will focus approximately twice as fast as its predecessor during movie shooting thanks to its new and improved AF system.  AF speed and AF tracking sensitivity are also adjustable for expanded creativity.</p>
<p>Other professional caliber video features include the ability to record Full HD at 120 fps at 100 Mbps<sup class="green">7</sup>, another first for α interchangeable lens cameras with APS-C sized sensors.  This mode allows footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD<sup class="green">8</sup> (24p or 30p) resolution with AF tracking.   The new α6300 also offers S-Log gamma recording<sup class="green">9</sup> for wide dynamic range shooting – approximately 14-stop latitude in S-Log3 gamma setting – and supports S-Gamut for a wider color space.  Both options allow for greater creativity for processing video post-production.</p>
<p>Also included on the new camera is a microphone line input that accepts external microphones and also supports XLR input with Sony’s XLR adapter kit, as well as Gamma Display Assist, a new function that allows users to monitor images or check focus when recording S-Log movies. The new model has enhanced Zebra functionality for greater exposure control.  Picture profile settings are available, as well as Time Code / User Bit and much more.</p>
<p><strong>Enhanced Operability and Ergonomics</strong></p>
<p>The α6300 camera is equipped with a high contrast, high-resolution XGA OLED Tru-Finder with approximately 2.4 million dots that offers exceptional corner-to-corner visibility.  There is also a new mode available for the viewfinder that allows display of images at 120 fps, ensuring that action is displayed smoothly with very few afterimages, making subject tracking through the Tru-finder easier than ever.</p>
<p>Aesthetically, the new α6300 camera features an extremely solid feel in hand thanks to its robust, magnesium alloy design.  It can be customized to fit nearly any shooting style or preferences, with 9 customizable buttons that one of 64 different functions can be assigned to.  The camera adds a digital level gauge as well as upgraded dust and moisture resistance<sup class="green">10</sup>, a reinforced lens mount structure and a new shutter release button and mode dial with improved operability and grip.</p>
<p>The new α6300 camera is Wi-Fi® and NFC compatible and fully functional with Sony’s PlayMemories Mobile™ application available for Android™ and iOS platforms, as well as Sony’s growing range of PlayMemories Camera Apps™, which add a variety of creative capabilities to the camera.  It also supports QR code for easy connection to non-NFC smart phones.</p>
<p><strong>Pricing and Availability</strong></p>
<p>The Sony α6300 interchangeable lens camera will be available in March for about $1,000 for the camera body or for about $1,150 paired with a 16-50mm F3.5 – F5.6 kit lens (model SELP1650).  Prices for the Canadian market will be about $1,350 CA for the body and about $1,500 CA for the camera kit.  It will be sold at a variety of Sony authorized dealers throughout each region.</p>
<ol>
<li><span class="green">Among interchangeable lens cameras equipped with an APS-C sized sensor as of February 2016, based on Sony research.  Measured using CIPA-compliant guidelines and internal method with an E PZ 16-50 F3.5-5.6 OSS lens mounted.  Pre-AF off and viewfinder in use.</span></li>
<li><span class="green">Among interchangeable lens cameras as of February 2016, based on Sony research</span></li>
<li><span class="green">Expandable up to ISO 51200 for stills and up to ISO 25600 for movies</span></li>
<li><span class="green">A-mount lenses with SSM or SAM only. Users can choose phase-detection AF or contrast-detection AF in AF System menu.</span></li>
<li><span class="green">1.6x in 30p setting</span></li>
<li><span class="green">An SDHC/SDXC memory card with a Class 10 or higher speed rating is required for XAVC S recording</span></li>
<li><span class="green">UHS Class 3 memory card is required for recording at 100Mbps</span></li>
<li><span class="green">Number of pixels required for Full HD movie recording is readout from the image sensor</span></li>
<li><span class="green">S-Log2 and S-Log3 are based on processing pictures.</span></li>
<li>This camera is designed for optimal dust and moisture resistance, but is not waterproof or splashproof. For FE lens only</li>
</ol>
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70-200f4is vs 70-300L

I've used 70-300L for over a year. Great IQ indeed. Just a couple of things i don't like. It's a bit heavy on a mk3 for travel, compared to what i had previously (6d+70-200f4). Half kilogram is quite noticeable especially on a hike. I also prefer non extending design of the 70-200f4 IS. I also miss shooting at f4 at 200mm.

The only reason i sold my 70-200 was not because of the extra 100mm i would gain. It's because the AF was slow. It was slow since i purchased it but i never knew it's considered slow. I was a newbie and i didn't have other L lenses to compare with. Image quality was wonderful and AF, although not snappy, was tolerable.

Anyhow, i consider my previous copy of 70-200f4 to be faulty. I'm considering giving it a second try. My concern is whether it's a good idea to buy an outdated lens. I say outdated because the design is 10 years old. I don't foresee an updated version in the near future. The reason 70-300L being so good is because it's more modern. So in my head I'm thinking that it seems silly to dump a more modern lens for an older design lens.

Just curious if there are other owners of both these two lenses and how you arrive at your decision as to which one to keep.

How was your CPS experience with getting gear repaired?

Hey everyone, as most of you know I managed to slip on some ice while hiking up a mountain almost a month ago and managed to break the AF and back mount of my 24-70 f2.8 ii and break the AF, prism, mirror box and sensor of my 1DX so I brought it in to the CPS service station here in Norway and told them I had CPS platinum and was told it would take 3 days to find out the problems with the camera and lens and after 3 they told me the price, what was wrong and how long it would take to fix, 7 days to fix and order parts at the maximum.

My only problem with it is that it's been 3 weeks now since I brought it in, with their most recent update being parts ordered for the past 7 day so I'm just a bit frustrated with how long it's taking but I know that it's a complex process to fix the camera etc..

So I'm curious to know what your experience with getting gear repaired by Canon?

Sony finally offers big/fast zooms

I love the prospect of owning a mirrorless rig someday. I love my 5D3 and am in no hurry to replace it. But in 5 years time, I could see myself owning a mirrorless rig.

I've ranted and raved about how the mirrorless market needs to decide if it will be focused on being smaller than a comparable SLR or if it will be focused on doing everything an SLR can (and someday, more).

Sony has withheld f/2.8 zooms from it's users for some time, but no more:

http://photorumors.com/2016/02/03/sony-launches-new-g-master-brand-of-interchangeable-lenses/

As expected, Sony is playing for the latter/red camp above, but it underscores how pursuing the "do everything an SLR can" crusade can completely torpedo keeping it small. Physics it physics and all, and those fast zooms are anything but small.

Curious to see how that 70-200 f/2.8 handles with a Rebel-sized grip on a long day of shooting...

- A

  • Locked
SONY announces A6300

http://www.dpreview.com/news/3240829197/sony-announces-24mp-a6300-mirrorless-camera

Sony has introduced the long-awaited update to its popular a6000 mirrorless camera: the a6300. Featuring a newly developed 24 Megapixel APS-C sensor and a completely revamped '4D' AF system with 425 phase-detection AF points, the a6300 sits at the top of Sony's APS-C mirrorless lineup.

Key Features:

24MP CMOS APS-C sensor with copper wiring
425-point on-sensor phase-detection AF system
11 fps continuous shooting (8fps continuous live view)
Silent shooting
Max ISO of 51200
4K video capture up to 100 Mbps
Capable of continuous shooting at up to 11 fps with AF, the a6300's 425-point hybrid AF system features 'high-density' tracking, which dynamically activated AF points around a subject and adjusts them depending on the motion of the subject itself. The 425 phase-detect points, impressively, reach all the way out to the corners of the frame.

Perhaps the biggest news is that the a6300 is capable of uninterrupted live view at up to 8 fps, potentially addressing one of the biggest shortcomings of mirrorless cameras when it comes to fast action shooting. Traditionally, mirrorless cameras tend to show only a stop-motion sequence of last-shot images at the highest shooting frame-rate, which makes it hard to follow a subject and keep an AF point over it. Live view in between short blackouts brings the a6300 much closer to the experience of a DSLR with optical viewfinder.

At the launch event in New York this morning, Sony showed a video reminiscent of Nikon's recent DSLR vs. mirrorless comparison for fast action shooting at CES, albeit comparing the a6300 to a <$1000 DSLR. Results looked impressive, with what appeared to be usable live view in between short blackouts at 8 fps.

The a63000 is also capable of 4K video capture at up to 100 Mbps. The camera uses a 20MP (6K) region of the sensor to offer 2.4x oversampled 4K video.

The a6300 will be available in March for $1000 body only.

I'd say it's a *** STRIKE *** ;D 8)

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