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Hello FF!

I am living in Japan, and have noticed that second hand -5d markII's in mint condition are going for slightly less than
-6d's new (well, 150 Dollar slightly less...).
I am 'ready' to finally switch to FF (landscape photography caught on) and would like to ask you guys and girls which of the two afore mentioned cameras you would recomment to me (and why)?

Please keep in mind I don't care about AF, I just wonder if the -5d II would serve me better than the -6d?

Thanks a bunch!!

Okay, guess this is too boring like for you gearheads...?

How about this: Should I buy a -6d or wait for the 6d mark III?!
Will figure it out myself! Loosers!!

7Dii AF performance

After looking at the specs and reading the reviews I have no doubt that the 7Dii will be a massive improvement in AF over its predecessor (the 7D) - certainly if you own any of Canon's exceptional telephoto lenses. I own the 7D and a good copy of the Sigma 120-300 os (the latest version before Sigma introduced the S). As many others have previously noted - the auto-focus speed is reasonable (but certainly not Canon L fast) and often very inconsistent, especially in AI-Servo when tracking a target. This appears to be a weakness with the lens, as significant improvements were apparently made when the S version was introduced with the USB dock. In a perfect world I would sell it and buy a Canon 300 2.8 - at the moment, however, I am a graduate student and that is not possible.

My question is: do you think the 7Dii would provide any significant improvement in AF performance (speed and accuracy) with the Sigma 120-300, or would I be wasting my money?

70-200 f2.8 IS mk 2 with 2x extender

Just received my 70-200 today, to late to really test it as have been so busy, just know it works and focuses fast. A couple of questions, firstly is it any good with the 2x extender ( I have searched, this forum and others, Arthur Morris, birds as art on FM gets brilliant images with this combo ) others say the 100-400 (which I have) or similar gives better results. I also have the 1.4 mk3 extender and reviews say it performs well with the 70-200 f2.8 IS mk2. Second question, is there a strap that is capable of carrying this lens on a 5D3,either to my side or across my back ( as I saw a Nikon user recently using, though with a lighter lens, bigger camera) My usual method of carrying the 100-400 is to hold the lens as I am walking, I do not find this awkward most of the time but if walking with my dog it can be a problem.

Regards, Alan

"11-24mm f/4" vs The Holy Grail

Okay some people are complaining about 11-24mm being f/4 and not being at f/2.8 while others are complaining its price anticipated to be at 3,000$.

I really do wonder what you all think it would be like to compare it with the Nikon 13mm f/5.6 also called "The Holy Grail"

http://kenrockwell.com/nikon/13mm.htm

Quote:
- Nikon's suggested retail (rip-off) price was $8,229 in 1979, or over $24,000 in today's dollars.
- B&H advertised it at $5,569 in January 1987, or over $10,000 in today's money.

- The 13mm cost more than the no-longer-made 300mm f/2, which now sells for five-figures used.
- The 13mm was double the cost of the 300mm f/2.8 or twelve times the cost of the 16mm fisheye.

Recently sold for 24,500 US$ on ebay (http://www.ebay.com/itm/141433630285)

Youtube link: http://www.youtube.com/watch?v=Yr-_KTLF_D4

What do you all think, can we compare these both or are both of them at a different league of their own?

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Canon Announces CN20x50 Cine-Servo Ultra Zoom Lens

HTML:
<p><em>Canon introduces new 4K cine-servo, ultra-telephoto lens with world’s longest focal length</em></p>
<p>United Kingdom, Republic of Ireland, 16 October 2014 – Canon today bolsters its cine servo lens line-up with the new CN20x50 – a high performance, ultra-telephoto zoom lens for sport and nature TV production. Leveraging Canon’s long-standing and unparalleled expertise in lens design, the CN20x50 delivers superb image quality and exceptional creative control, and is the first lens of its type to combine a built-in 1.5x extender, class-leading 20x magnification and a removable servo drive, with a native 50-1000mm focal range that expands to a huge 75-1500mm.</p>
<p>Designed to be a portable solution for broadcast productions using super 35mm cameras – whether HD, UHD or 4K – the CN20x50 is a tool of unprecedented quality, versatility and usability. Featuring a completely removable updated servo drive unit that enables an agile shooting style that’s difficult to achieve with typical cine lenses, the new cine-servo lens helps to meet growing demands for Ultra High Definition (UHD) resolution sport and nature television production.</p>
<p><b>Versatile and reliable</b>

With productions today expected to shoot in demanding and unpredictable environments, a huge level of lens flexibility is required. For wildlife television, operators typically work in hostile and sensitive conditions which often necessitate shooting from extremely long distances, while sports productions typically require extremely high resolution for close-to-the-action stadium work. In both situations, operators require fast, reactive positional changes, shooting flexibility and nimble hardware that allow them to respond to changes in the scene.</p>
<p>Weighing just 6.6kg, the CN20x50 is conveniently portable and lightweight and offers an unrivalled focal length and zooming capabilities for its class. It enables sport and documentary crews to capture footage at a distance, while maintaining the highest quality throughout the zoom range. The lens’s huge zoom range also significantly reduces the volume of hardware that crews are required to carry, offering a superb solution for location shoots.</p>
<p>The latest in Canon’s cine-servo lens line-up, the CN20x50 is also user-friendly and robust. The design has been developed to ensure high levels of ruggedness and reliability, even in unforgiving broadcast environments – combining the finest quality optics with a weather-and-shock-proof construction that makes it suitable for use in the most hostile conditions when on location, to the same level as conventional Canon broadcast lenses.</p>
<p><b>Flexible operability</b>

Compatible with a wide range of cameras, the CN20x50 also supports communication between lens and camera and will be available in both EF-mount and PL-mount variants. The EF-mount version utilises Canon’s own system, while the PL-mount variant supports Cooke’s /i Technology standard. Both models feature a 12-pin serial connection for integration with typical broadcast equipment.</p>
<p>The focus ring rotation is 180 degrees, balancing the accuracy required for 4K imaging with the speed needed for broadcast use. In scenarios where every second counts – and operators only have one opportunity to capture a shot – high speed zoom, iris and simple focusing operation mean that even rapidly changing scenes can be captured with ease and accuracy.</p>
<p>The lens’ design supports a range of cinema and broadcast accessories including operational zoom and focus controls, matte boxes and 0.8- and 0.5-type gear module accessories such as follow focus units, to provide a truly versatile solution.</p>
<p><b>CN20x50 key benefits:</b></p>
<ul>
<li>Ultra-telephoto lens with class-leading focal length</li>
<li>Capture every detail in sports and nature TV broadcast</li>
<li>Achieve stunning shots in outstanding 4K quality</li>
<li>Enjoy a wide variety of shooting and expression</li>
<li>Portable and durable with intuitive operation</li>
</ul>
<p>Source: [<a href="http://www.the-digital-picture.com/News/News-Post.aspx?News=12711" target="_blank">TDP</a>] & [<a href="http://cpn.canon-europe.com/content/news/canon_unveils_cn20x_50_ias_h_e1_p1.do" target="_blank">CPN</a>]</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Strange Problem with 1Dx

Hi,

last week I was shooting a series of bracketing images (Raw, HS motor drive, +/- 1 stop) for HDR. Occasionally on the 3rd image my 1Dx would freeze up and not finish the shot.

I fixed this by turning off the camera. The battery was okay (>50% charge, perhaps 75-80%), and this did not happen on all the shots. The shutter speed for the first exposure was around 0.8 second.

Anyone seen this before? I plan to take the body to Canon service center but thought I would check to see if this was a known problem.

Thanks

SX60 HS

The first reviews are trickling out, e.g, http://cameras.reviewed.com/content/canon-powershot-sx60-hs-digital-camera-review

It handles better than the SX50, it is reported. The local shop had one in today, which gave me the chance of a few shots side-by-side with the SX50. The evf is a real improvement and seemed more responsive, but I was more interested in the IQ at 1365 on the SX60 vs 1200mm.

I used iso 320 and RAW. Unfortunately, DxO doesn't have a raw converter for the SX60 yet but the latest DPP for Powershot works. The SX60 was very noisy, much noisier than the SX50, and the SX50 gave better results.

National Geographic photographer Bob Krist explains why he moved to Sony

I didn’t start out looking to jump ship from my favorite line of DSLRs to Sony mirrorless, cameras. It just kind of happened out of necessity.
I’m a 30+year veteran shooter for National Geographic publications. A few years ago, they asked me to go along on one of the high end, educational private jet tours that their new division, National Geographic Expeditions, was starting to offer. I would teach lecture and teach photography, and oh, could I also shoot some video and stills of the trip?.....

read more:

http://www.sonyalpharumors.com/

and read this too:

http://www.oldmaninmotion.com/four-great-still-shooting-feats-my-sub-1k-mirrorless-can-do-that-my-3k-dslr-cant/

Patent: Variable Diffusion Focusing Screen

HTML:
<p>A patent for a variable diffusion focusing screen from Canon is out there. The patent shows a focusing screen capable of showing sharp areas as well as giving the shooter a better idea of depth of field. Current DSLRs are quite difficult to manually focus accurately using fast primes with the default focusing screens. There are focusing screens out there you can swap out, but having it all in one screen would be ideal.</p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2014/10/patentfocusingscreen.jpg"><img class="alignnone size-full wp-image-17597" src="http://www.canonrumors.com/wp-content/uploads/2014/10/patentfocusingscreen.jpg" alt="patentfocusingscreen" width="398" height="140" /></a></p>
<p><strong>Patent Publication No. 2014-191184</strong></p>
<ul>
<li>Published Date 2014.10.6</li>
<li>Filing date 2013.3.27</li>
</ul>
<p><strong>Canon patents</strong></p>
<ul>
<li>Spreading factor variable finder screen</li>
<li>First diffusion rate</li>
<li>Brightness priority</li>
<li>Setting of low diffusivity and high transmittance</li>
<li>Second diffusion rate</li>
<li>Blur priority</li>
<li>Setting of high diffusivity and low transmittance</li>
<li>The partially changed spreading factor according to the focusing range</li>
</ul>
<p>Source: [<a href="http://translate.google.com/translate?sl=auto&tl=en&u=http://egami.blog.so-net.ne.jp/2014-10-15" target="_blank">EG</a>] via [<a href="http://www.northlight-images.co.uk/cameras/Canon_rumours.html" target="_blank">NL</a>]</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Travel gear thoughts...

After a hiatus of 30+ years, I am gearing up to enjoy photography as a hobby in retirement. One concern is finding a good combination of gear for travel photography. I have the 6D and the 70D bodies, and was thinking about using both for travel, with a 16-35 L F4 and a 70-300 non-L. Seems to me that this combo of 2 bodies and 2 lenses would be relatively light-weight, and provide an effective range of 16mm - 480mm (OK, with a small gap between 56mm and 70mm), yet I have never seen anyone make this type of suggestion... What am I missing?

Should anyone care to make other suggestions for travel, fyi I have the 24-105 L, 50mm 1.8, 85mm 1.8, 70-200 2.8 L II, and the aforesaid 70-300 non-L... Travel shots would be landscapes, cathedral interiors, and people.

Thanks for any feedback,

Mike

Is my Canon 24-70 f/2.8 II ok?

Hi,

I bought the great Canon 24-70 f/2.8 II some weeks ago. Above 35mm it is a superb lens, but at 24mm f/2.8... I'm not so sure. So, I micro adjusted the lens using Focal and did some tests afterwards.

Attached, you can find the PDF for the 24mm focus test. At 70mm, the chart shows a straight horizontal line from f/2.8 till F/8.0 (more or less). At 24mm f2/8, it is kinda blurry until I go to F/6.3. The lens is also sharper from 50 to 70mm f/2.8 than 24mm.

Now, I'm wondering, do I have a bad copy of the lens or is this normal? When I look at DxO for this lens, it should give me a better result at 24mm.

Greetings,
Sigurd

Attachments

Building my lens system - where to go from my basic kit?

I have been photographing for four years now. I started out using a 600D with the kit lens, but upgraded after 1.5 years to a 6D because I wanted better low light performance and IQ when doing landscapes. So far, this camerahouse has been fantastic and been a companion on my all of my travels the last 2 years.

I currently have and use two lenses depending on the situation: 24-105 F4L for general walkaround lens, and the 35 F1.4L for more creative use, and "astrophotography" when the weather allows for it.

However, when I look at my pictures, the ones I like the best comes from the 35, with a few exceptions from the 24-105. When pixelpeeping the pictures from the 35 is miles ahead of the 24-105 with regard to image quality, atleast to my eyes. Besides, the pictures I take with the 24-105 tend to be either 24mm (65%) and 105mm (25%) and 15% spread among the rest of the range (from my Lightroom catalog). Lately, I've frequently found myself shooting panoramas at 24mm and stitching them in post process to cover the scene I see with my eye.

From this, it seems I want to go wider, and longer when shooting portraits. Considering I travel I also want to be able to bring atleast some of it on my travels. I want to have a system that cover lenses from the wide end to tele. So here are the options I've thought through:

My main thought is: ditch the general zoom and buy a wide angle lens and a tele lens
For wide angle I see two options: the 14 F2.8 or the new 16-35 F4 IS. A third that I might evaluate is to buy the Samyang 14 F2.8, but as I travel I don't know how much use that would give me. The 14 F2.8 does not accept any of the screw on filters I have, so I think the 16-35 F4 IS is the winner here. Another alternative could be the 24-70 F2.8, but I don't know if it will leave me satisfied with regard to the focal length.

For the tele-range I have thought through these three options: 135 F2, 70-200 F2.8 II or 70-300 F4-5.6. I might do a safari in the coming years, but I think would rent a 100-400 or 400 for that when that time comes. But I'd like to be able to photograph wildlife occasionally. The use of the tele lens would be for family events and portraits. The 135 seems light and desireable, and sounds like a good fit if my experience with it reflects my use of the 35. The gear-nerd in me want the 70-200 F2.8 II, but I am afraid it could turn out to be a very expensive paperweight and not be used much while travelling.

To sum it up:
- I would like to be able to travel with my kit. So weight is a concern (keep in mind that many airlines enforce a 7kg carry-on limit. The ones I use for short-haul trips have a 10kg limit)
- I would like to be able to photograph landscapes, urban, portraits, events and wildlife.
- I would preferably have kit with 3 lenses, possibly 4 with future 100-400 or 400.

Alternative 1:
- 16-35 F4
- 35 F1.4
- 135 F2

Alternative 2:
- 16-35 F4
- 35 F1.4
- 70-200 2.8 II or 70-300 F4-5.6

Alternative 3:
- 16-35 F4
- 35 F1.4
- 100-400 or 400

Alternative 4 (that I think some of you might suggest):
- 16-35 F4
- 24-70 F2.8 II
- 70-200 2.8 II

Some of you must have experienced the same situation, or have some input on this situation?

Canon profit report

http://asia.nikkei.com/Markets/Tokyo-Market/Canon-likely-saw-7-profit-boost-in-January-September

October 15, 2014 1:57 am JST

Canon likely saw 7% profit boost in January-SeptemberTOKYO -- Canon's operating profit apparently climbed 7% on the year to just over 260 billion yen ($2.41 billion) for the nine months through September thanks to strong office equipment sales and a weak yen.

But sluggish camera sales blunted the Japanese company's profits, which had shot up 26% in the January-June half.

Total sales for the January-September period likely stayed flat from the 2.69 trillion yen booked a year earlier.

Both sales and profit appear to have grown at its mainstay office equipment unit. The recovery in the business environment has pushed up demand for photocopiers, laser printers and other office equipment around the world. The soft yen has further boosted profits. Yet sales of high-margin consumable items, such as toner, stalled.

Meanwhile, profits in its imaging systems segment likely dipped from falling digital camera sales. The company sold about 30% fewer compact cameras due to competition from smartphones with better-quality cameras. Weak personal spending in Europe and repercussions from Japan's sales tax hike also contributed to a double-digit drop for interchangeable-lens products, such as SLRs.

The company is focusing more on higher-end items, which have a wider profit margin, and has slashed production costs, but was unable to completely make up for the slow sales.

Canon plans to release January-September results on Oct. 27. It is expected to retain its guidance for the year ending in December of an 8% operating profit gain to 365 billion yen.

So what makes a camera a "pro" camera?

Coming back from a brief photography sabbatical, I've found quite a few posts on the forum regarding qualities that would make a camera considered professional vs. a camera considered non-professional. But that got me thinking, what is it that makes a camera a professional camera? Is it build quality? Is it megapixels or the size of the sensor? Is it a monetary figure that one must cross, or is it a camera that can perform in any situation even though most of those situations won't be experienced by the owner? I'm under the current believe that if you are making money on what you do, then the tool is a professional tool whether it is a 1Dx or a 110 film camera. I'd like to pose the question to the forum here. What are your opinions?

EOS 6D Mark II to Move Upmarket? [CR1]

HTML:
<p>We’re told that Canon hasn’t been fully satisfied with the sales of the Canon EOS 6D, a camera which I personally love for its size and simplicity. We’re told that the next iteration of the camera is likely to move upmarket in features and pricing. As it sits, there’s about a $1500 difference between the EOS 6D and the EOS 5D Mark III.</p>
<p>I think most people would rather see a $1499 full frame camera, but Canon seems to be marketing the EOS 7D Mark II on par with the 6D as far as image quality goes, so that might drive the 6D upwards, which in turn could also move the next EOS 5D body up as well. This is the opposite of where I saw things going, but increasing margins to offset decreasing sales numbers is good business.</p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2014/10/canonproducttree.jpg"><img class="alignnone size-full wp-image-17591" src="http://www.canonrumors.com/wp-content/uploads/2014/10/canonproducttree.jpg" alt="canonproducttree" width="570" height="367" /></a></p>
<p>Check out a four part interview with the developers of the Canon EOS 7D Mark II: <a href="http://www.canon-asia.com/snapshot/category/products-review/eos-7d-mark-ii-developers-interview/" target="_blank">Canon 7D Mark II Developer Interview</a></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Get G15 refurbished or G16 new?

I'm thinking about getting a G15 or G16 but can't decide if it's worth getting the G16 over the G15 considering the minor differences (I couldn't care less about wifi, but added speed/performance is always nice).

The G15 I can get locally at €299,- (refurbished), the G16 (new) is €429,- (€399,- refurb).

The intention is to shoot RAW in 3:2, and then develop in DPP or LR. The Canon raws would fit nicely in my post-processing workflow if I use it next to one of my DSLR's.

Any recommendations?

Which TS-E for NYC?

Hello all-

Finally ready to take the plunge on a TS-E lens but still woefully undecided on which. I currently shoot on a 5D3, with the 24-70L II, 70-200L II, and the nifty 50.

Living just outside of NYC it seems a shame I haven't taken the opportunity to photograph it. My primary interest in this context is the phenomenal architecture of the city, though I quite enjoy people photography as well. I'm envisioning the 24-70L II, a 135L, and one of the TS-E's (along with my Gitzo carbon legs and RRS ball head) as a suitable kit to these ends. But I'm undecided on the 17 vs 24.

One the one hand, 17 gives me a perspective 24 can't (though I could take advantage of shift movements). I have the Lee Big Stopper and hope to employ it but I read that is now also possible with the 17. So which is my better investment if I'm hoping to capture shots of the Brooklyn Bridge, Flat Iron Building, GCT, High Line, NY Public Library, and the like?

Thanks in advance!

Review: Canon EF-S 10-18 f/4.5-5.6 IS STM from DXOMark

HTML:
<p>DXOMark has completed their review of the Canon EF-S 10-18 f/4.5-5.6 IS STM lens. This relatively inexpensive lens has been receiving a lot of accolades for its performance/price value ratio.</p>
<p><strong>From DXOMark:</strong>

<em>“This lens isn’t a replacement for the existing, near pro-level EF-S 10-22mm f3.5-4.5 USM; it doesn’t match the range, speed (or build-quality) but with a similar optical performance, lower price and quiet STM AF motor this lens certainly has its place in Canon’s line-up. Knowing it will appeal to both stills and budding moviemakers it’s likely to be a popular addition, but it doesn’t really plug any holes in the maker’s range.”</em></p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2014/10/canon1018compare.jpg"><img class="alignnone size-medium wp-image-17586" src="http://www.canonrumors.com/wp-content/uploads/2014/10/canon1018compare-575x481.jpg" alt="canon1018compare" width="575" height="481" /></a></p>
<p><strong>Canon EF-S 10-18 f/4.5-5.6 IS STM $299: <a href="http://www.amazon.com/gp/product/B00K899B9Y/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00K899B9Y&linkCode=as2&tag=canorumo-20&linkId=SYUOCVQGBCUI2BEC" target="_blank">Amazon</a> | <a href="http://www.bhphotovideo.com/c/product/1051476-USA/canon_9519b002_ef_s_10_18mm_f_4_5_5_6_is.html/BI/2466/KBID/3296" target="_blank">B&H Photo</a> | <a href="http://adorama.evyy.net/c/60085/51926/1036?u=http://www.adorama.com/CA1018.html?kbid=64393" target="_blank">Adorama</a></strong></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Do date codes matter?

I've read a little bit about Canon lens date codes and some discussions that they do matter (i.e. that later in time codes give you a better lens because certain initial flaws have been cured) especially for the 50mm L 1.2 which is what I'm considering buying.

Anybody have any evidence that they matter? Or any resources or even just thoughts? And if they do matter, and if I'm buying the lens online (say, from B&H) how would I verify that I'm buying the later / "better" date code version? Thanks for your help.

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