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Canon Rumors · Jan 20, 2014

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<p>Long time Nikon shooter, author and Adobe professional Scott Kelby switched over to Canon about 6 months. Being that he’s a popular guy in the photography world, I assume he was being asked every 10 minutes why he switched.</p>
<p>The switch was made to a EOS-1D X and EOS 5D Mark III for the big reasons of ergonomics, menu system and skin tones.</p>
<p>Kelby sits down with Canon Explorer of Light Rick Sammon to discuss the switch to Canon.</p>
<p><iframe width="500" height="281" src="http://www.youtube.com/embed/Vz94bdlVVlc?feature=oembed" frameborder="0" allowfullscreen></iframe></p>
<p><strong>CR’s Take</strong>

I’m not sure how much Mr Kelby paid for the Canon gear he now has, but I hypothesize it was at a discount. :)</p>
<p>System switching is an odd thing to me, and always has been. Unless there’s a definitive feature or lens that one doesn’t have and the other does.</p>
<p>I have heard of Canon shooters moving to Nikon if they use Speedlites a lot, as Nikon’s ETTL does a better and more consistent job than Canon’s system does.  When I hear a Nikon user switching to Canon, it seems to usually be about video features. I also know of a couple of nature photographers that moved over to Canon around the time the new big white lenses made it to market. They found great value in the weight savings of Canon’s new super telephoto lenses.</p>
<p>Switching for ergonomics is a weird one to me. After a few months with a camera, you’re used to it and it becomes second nature. I personally fumble around with Nikon’s pro bodies, but that’s because I have been shooting Canon predominantly for a long time. Had I always shot Nikon, I’m sure the opposite would be true.</p>
<p>Spotted on: [<a href="http://www.photographybay.com/2014/01/20/scott-kelby-explains-his-switch-from-nikon-to-canon/" target="_blank">PB</a>]</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Canon Rumors · Jan 20, 2014

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<p><a href="http://www.dustinabbott.net" target="_blank">Dustin Abbott</a> has sent us his in-depth review of <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron’s brand new 150-600 f/5-6.3 VC</a> super telephoto zoom lens. This lens is receiving a lot of press for it’s range and killer price of $1069 USD.</p>
<p>Most everyone that is reviewing lens has been giving it very good reviews. No, it’s not going to perform as well as <a href="http://www.bhphotovideo.com/c/product/973129-REG/canon_5176b002_ef_200_400mm_f_4l_is.html/bi/2466/kbid/3296" target="_blank">Canon’s 200-400 f/4L IS 1.4x</a>, but that lens costs about 10 times more!</p>
<p><strong>CR’s Take</strong>

I get asked a lot about what lens to buy, and one of the most asked is what super telephoto zoom to buy. Since the announcement and reviews  of the <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 f/5-6.3 VC</a>, I have had a hard time recommending Canon’s long-in-the-tooth 100-400 f/4-5.6L IS. This is a great starting point for anyone wondering if or how they’d use the super telephoto focal lengths. Some people may find they sit in the 300mm range, others may find they never leave 600mm. If you spent a year with this Tamron, you may then have a better idea as to whether or not investing in one of the big Canon L’s is the right decision for your situation and pocketbook.</p>
<p>I think it’s very interesting watching Sigma and Tamron release lenses that are priced extremely competitively and give wonderful bang-for-the-buck performance. Your move Canon….</p>
<p><strong>Says Dustin

</strong><em>“I simply don’t have the budget to purchase many of the super-teles that cover this focal range, and furthermore, I don’t shoot this style of photography often enough to justify the expense even if I did.  But this lens hits a sweet spot for me.  It’s price is low enough to not only be affordable but also a small enough investment that you won’t feel like you have wasted your money if you aren’t shooting long distance every day.  So if you can’t afford a “super-tele”, how about an “ultra-tele” (that’s what Tamron is calling this lens segment)?  The preorder price in the United States is only $1069.  It is about $180 more here in Canada, but this lens represents such a tremendous value that I have had a serious conversation with a friend in the industry about how it is even possible for Tamron to make a profit at this price.  I personally wonder if they are not selling this lens at a loss to drive brand recognition.  It’s that good.”<strong>

</strong></em></p>
<p><strong><a href="http://www.dustinabbott.net/2014/01/tamron-sp-150-600mm-f5-6-3-di-vc-usd-review/" target="_blank">Read the full review</a> | <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 f/5-6.3 VC at B&H Photo</a></strong></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

gshocked · Jan 20, 2014

Hi All,

I just wanted to get some opinions on using a Canon 300mm f4 L lens for sports photography?

I have a Canon 5d mk III and was wondering if this is a good combination? On the side I am saving up for a Canon 7D. I know there is a a possible replacement coming out soon but its not my primary photography interest and I've heard/experinced so many good things about the 7D. I might be a little older bit its still holds it ground.

Please post your thoughts or pictures using this lens. There aren't that many reviews or videos that give deep insight on this lens? There is a Digital-Rev video but its not that helpful.

Thanks in advance!

Aglet · Jan 20, 2014

Well, hardly a rumor any more.
January 28th official announcement.
Looks like they're plastering the deck with manual controls a-plenty.
I sure hope it fits and feels better in hand than Nikon's Df.
If so, it's looking like the next Fuji in my collection and likely to displace a few more DSLR bodies for regular use.
A little popup flash would be convenient but can't always have it all.
The one on the xa1 and xm1 works nice as you can tilt it back and use for bounce.

www.fujifilmholdings.com/ja/80th/

www.fujirumors.com/hot-first-real-image-of-the-x-t1-on-japanese-newspaper/

Albi86 · Jan 20, 2014

I need a small, portable and non-intimidating speedlite for a 5D Mark III. That said, keep in mind that it's going to be the one I use the most.

Basically it's supposed to replace the missing pop-up flash for filling shadows in back-lit scenarios. It will sit on the camera 99.9% of the time, so ETTL is a must. Of course other features such as swivel, AF beam etc are welcome.

In Canon's lineup the 270 EX II seems to fit the bill, but the price seems hefty. It costs as much as a Yongnuo YN568

Other suggestions? I know of the Sunpak RD2000, but I've been reading of missing firmware updates and it has quenched my enthusiasm about it. I've been looking at the Metz flashes, but none seem very small.

Suggestions/experiences appreciated

Canon Rumors · Jan 19, 2014

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Was there any doubt? :)</p>
<p><a href="https://www.facebook.com/setlife.magazine" target="_blank">Setlife Magazine</a> has posted a couple of graphics showing the technical specifications of cameras and lenses used in the making of the cinematography & best picture nominees.</p>
<p><a href="http://www.eoshd.com/content/11914/red-cameras-absent-oscar-cinematography-best-picture-nominees" target="_blank">EOSHD</a> points out a very interesting observation. There isn’t a single RED camera on the list. It’s almost a clean sweep by ARRI.</p>
<p>Although, Canon should be happy with the C300′s and C500′s that have shown up in a few films. I think it’s good news for Canon since Cinema EOS is still pretty infant, and as EOSHD points out, they’re under-specced compared to their competition.</p>
<p>Something to build on for Canon.</p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2014/01/oscars-2014-cinematography.jpg"><img class="alignnone size-medium wp-image-15568" alt="oscars-2014-cinematography" src="http://www.canonrumors.com/wp-content/uploads/2014/01/oscars-2014-cinematography-575x283.jpg" width="575" height="283" />

</a></p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2014/01/1545569_1435538563346548_805595201_n.jpg"><img class="alignnone size-medium wp-image-15569" alt="1545569_1435538563346548_805595201_n" src="http://www.canonrumors.com/wp-content/uploads/2014/01/1545569_1435538563346548_805595201_n-575x512.jpg" width="575" height="512" /></a></p>
<p><strong><a href="https://www.facebook.com/setlife.magazine" target="_blank">SetLife Magazine on Facebook</a> | <a href="http://www.eoshd.com/content/11914/red-cameras-absent-oscar-cinematography-best-picture-nominees" target="_blank">Read Full EOSHD Article</a></strong></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

gshocked · Jan 19, 2014

Hi All,

I though it would be nice to start a Topic based on favourite spots around the internet people use to help them decide, which Canon gear to get.

I found inspiration for this Topic from a post I just replied to. If this has been done before, it doesn't hurt to get get a fresh update.

To start this list is from Rienzphotoz:

Rienzphotoz said:
1. michaelthementor.com
2. the-digital-picture.com
3. Dave Dugdale's youtube channel
4. thecamerastore tv youtube channel
5. digitalrevtv youtube channel
In addition I also, follow/watch at least dozen other reviewers, infrequently.

I've added these youtube channels:

Matt Granger - (He's a Nikon guy in Canon Clothes... but his views have help me with my 70-200 purchase)
Jared Polin - If you like Kai, this guy must be his US counterpart with substance.
Dan (Learningcameras.com) - Nice and clear. Great video on Canon 5DmkIII vs 6D
Indy Mogul - Top for Indie DSLR film makers! If your into that stuff.

Canon Rumors · Jan 19, 2014

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<p>A patent showing an EF-M 18-40  f/3.5-5.6 pancake has come to light. With this patent a bunch of other optical formulas also appear, such as an 18-55 pancake, 10-20, and a 9-18. We currently have an EF-M 11-22, which is probably rooted from the latter two optical formulas.</p>
<p>A zoom pancake would be a nice addition to the geographically fragmented and oddly marketed EOS M line.</p>
<ul>
<li><strong>Patent Publication No. 2014-6275</strong>
<ul>
<li><span>Publication date 2014.1.16</span></li>
<li><span>Filing date 2012.6.21</span></li>
</ul>
</li>
<li><strong>Example 7</strong>
<ul>
<li><span>Zoom ratio 3.00</span></li>
<li><span>Focal length f = 18.10-37.01-54.30mm</span></li>
<li><span>Fno. 4.20-6.20-8.20</span></li>
<li><span>Half angle ω = 36.92-20.17-14.06 °</span></li>
<li><span>Image height Y = 13.60mm</span></li>
<li><span>64.74-56.63-62.13mm lens length</span></li>
<li><span>BF 0.50mm</span></li>
</ul>
</li>
<li><strong>Canon patents</strong>
<ul>
<li><span>The possible vibration damping by the second lens group</span></li>
<li><span>Feeding whole, front focus, focusing, rear focusing, etc.</span></li>
</ul>
</li>
</ul>
<p>Source: [<a href="http://egami.blog.so-net.ne.jp/2014-01-20" target="_blank">EG</a>]</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Canon Rumors · Jan 19, 2014

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Roger and Aaron over at <a href="http://www.lensrentals.com" target="_blank">LensRentals.com</a> have completed their resolution testing of a host of supertelephoto zoom lenses. The Sigma 50-500 OS and Canon 100-400 were the two big competitors to the new <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 VC</a>.</p>
<p>The Tamron is the least expensive of the bunch and held up very well against others in its class. While it’s not clearly the best resolving lens. The price, focal range & performance will be a big winner for a lot of people.</p>
<p><strong>Summary from LensRentals.com

</strong><em>“My summary would be that the selection between a Tamron 150-600, Canon 100-400 IS, and Sigma 50-500 OS should be made on criteria other than MTF 50. There are some minor differences in resolution, but nothing that makes one clearly better than another. Price, weight, autofocus accuracy, effectiveness of vibration control, and a number of other factors (did I mention price?) are more important considerations when choosing among these lenses.</em></p>
<p><em>It’s pretty obvious that the Tamron has both 600mm range and the lowest price. These tests, and everything I see from photographers using the lens in the field, support that it’s of at least equal image quality. Some people will prefer the extra wide range of the Sigma, others the lighter weight of the Canon. But for a lot of people, the Tamron is going to be the best bang for the buck.”</em></p>
<p><strong><a href="http://www.lensrentals.com/blog/2014/01/tamron-150-600-telezoom-shootout" target="_blank">Read the full review</a> | <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 VC at B&H Photo</a></strong></p>
<p><em> thanks Steve</em></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Andy_Hodapp · Jan 19, 2014

With all the talk about the Tamron 150-600mm, I've been looking for a cheaper way to get it super telephoto nature photography. I'm moving to Montana in a matter of months and I will be living close to Yellowstone. I've already gone out and photographed the landscape but I have no real way of getting the animals at a safe distance. I have a 200mm F/2.8 II which is just not long enough. In comes the idea of using a Pentax Q as a teleconverter. I've been looking online at the prices of them and it looks like you can pick them up for about $150 or so and an adapter for $20. I haven't taken the dive and gotten them yet in fear of poor image quality. I can only think that having a 5.6 or a 4.7 times crop factor would bring all of the small imperfections of a lens out. If anyone has tried using a Pentax Q with an adapter I would love to know how well it works. Having a 1120mm F/2.8 sounds pretty awesome to me!

Canon Rumors · Jan 19, 2014

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PARK CITY, UT, January 17, 2014 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the company will return as a Sustaining Sponsor to the 2014 Sundance Film Festival. The Festival-which is celebrating its 30th anniversary this year, marking three decades of fostering a vibrant independent film community-will be held in Park City, Salt Lake City, Sundance, and Ogden, Utah from January 16-26, 2014.</p>
<p>The Festival’s diverse roster includes nearly 200 films, of which approximately 20 percent were shot using Canon equipment. Blue Ruin, Song One, Memphis, This May Be The Last Time, Cesar’s Last Fast, Happy Valley, Last Days in Vietnam, Life Itself,WHITEY: United States of America v. James J. Bulger, Mitt, Alive Inside, and Ivory Tower are just a few of the Canon-shot films screening in 2014.</p>
<p><!--more-->“Over the last 30 years, Sundance Institute has built a festival that is unrivaled; it is inspiring to be surrounded by the mountains of Park City and the artists and community who are at the peak of their craft, pushing the boundaries of film and artistic expression,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “At Canon, we are driven by delivering that same level of passion, innovation and commitment to our craft as the filmmakers and are excited to return as a Sustaining Sponsor.”</p>
<p>At the 2014 Sundance Film Festival, Canon will host a special slate of programming dedicated to the craft of filmmaking and the artists behind each and every film.</p>
<p>Canon will invite Festival attendees to relax and reboot with fellow cinematographers, directors, and producers at the Canon Craft Services daytime lounge (427 Main Street; open Saturday, January 18th-Monday, January 20th from 11am-5pm), the hub of Canon’s Festival activities.</p>
<p>The lounge will offer filmmakers the opportunity to touch-and-try the latest Canon gear, including the Cinema EOS C100, C300, and C500 cameras, cinema lenses, as well as DSLR cameras and professional products such as the XA25 high definition camcorder.</p>
<p>To inspire discussions about the latest storytelling techniques, technology, and trends, Canon will host craft conversations at its lounge, featuring panels of industry leaders and Festival filmmakers. Each panel will cover a different area of interest, ranging from documentary cinematography, to a focus on optics, to skeleton crew filmmaking. The craft conversation series will culminate in the Canon Spotlight: CNN Original Series screening and panel on Monday, January 20th at the Sundance New Frontier Microcinema (136 Heber Ave; 3pm).</p>
<p>Below is the full schedule of events for Canon’s activities at the Sundance Film Festival. All events take place at Canon Craft Services (427 Main Street) unless otherwise noted.</p>
<div>Saturday, January 18th</div>
<table width="540" border="0" cellspacing="15" cellpadding="5">
<tbody>
<tr>
<td width="90">11am-5pm</td>
<td>
<div>Canon Craft Services</div>
<div>A daily hub with lively craft conversations, a touch-and-try display of Canon equipment, a place to meet, relax, and reboot with industry colleagues, and coffee and snacks for filmmakers to enjoy.</div>
</td>
</tr>
<tr>
<td width="90">1pm</td>
<td>
<div>Craft Conversation | Optics In Focus</div>
<div>David Klein, ASC (Clerks) and James Laxton (Camp X-Ray,Tusk) have two things in common: a director named Kevin Smith and an affinity for Canon Cinema glass. The DPs talk about their optics must-haves and their experience with Canon Cine Zooms – Klein on Homeland and True Blood and Laxton on Smith’s latest Tusk.</div>
</td>
</tr>
<tr>
<td width="90">3pm</td>
<td>
<div>Craft Conversation | Small Crew, Big Movie: Shooting Guerilla-Style with Blue Ruin’s Jeremy Saulnier</div>
<div>Moderated by Dana Harris, Editor-in-Chief of Indiewire</div>
<div>Writer, director, and cinematographer of festival favorite Blue Ruin breaks down his journey from corporate video shooter to auteur filmmaker. Get the inside scoop from Jeremy about shooting with a skeleton crew – he makes no bones about why the Cinema EOS C300 camera was the right tool for him.</div>
</td>
</tr>
<tr>
<td width="90">5pm-6pm</td>
<td>
<div>Media Cocktail Hour</div>
<div>Photographers, videographers, crewmembers, journalists, and other members of the media are invited in to escape the cold, mingle, and get refreshed at the lounge.</div>
</td>
</tr>
</tbody>
</table>
<div>Sunday, January 19th</div>
<table width="540" border="0" cellspacing="15" cellpadding="5">
<tbody>
<tr>
<td width="90">11am-5pm</td>
<td>
<div>Canon Craft Services</div>
<div>A daily hub with lively craft conversations, a touch-and-try display of Canon equipment, a place to meet, relax, and reboot with industry colleagues, and coffee and snacks for filmmakers to enjoy.</div>
</td>
</tr>
<tr>
<td width="90">1pm</td>
<td>
<div>Craft Conversation | Truth Be Told: Documentary Filmmaking with the C300</div>
<div>Moderated by David Leitner, Contributing Editor of Filmmaker Magazine and DP of Tree Man</div>
<div>Hear from Jim Chressanthis, ASC (Cesar’s Last Fast), Dana Kupper (Life Itself), and Nick Higgins (The Lion’s Mouth Opens and 2013′s breakout The Crash Reel) about why the Cinema EOS C300 camera is their tool of choice for documentary work.</div>
</td>
</tr>
<tr>
<td width="90">3pm</td>
<td>
<div>Craft Conversation | Song One‘s John Guleserian on Crossing the Bridge from DSLR to Cinema-Style Filmmaking</div>
<div>Moderated by Neil Matsumoto, Editor of HDVideoPro</div>
<div>It’s hard to imagine Guleserian’s first Sundance feature was just three years ago, with Grand Jury Prize-winning tour de force Like Crazy, shot on the EOS 7D camera. The three-time Sundance alum–back again with Song One–breaks down the transition from Canon DSLR camera to cinema-style filmmaking and his experience with the Cinema EOS C300 camera, C500 camera, and everything in between.</div>
</td>
</tr>
<tr>
<td width="90">5pm-8pm</td>
<td>Canon Craft Cocktails Canon’s second-annual celebration toasts the cinematographers of the 2014 Sundance Film Festival.</td>
</tr>
</tbody>
</table>
<div>Monday, January 20th</div>
<table width="540" border="0" cellspacing="15" cellpadding="5">
<tbody>
<tr>
<td width="90">11am-5pm</td>
<td>
<div>Canon Craft Services</div>
<div>A daily hub with lively craft conversations, a touch-and-try display of Canon equipment, a place to meet, relax, and reboot with industry colleagues, and coffee and snacks for filmmakers to enjoy.</div>
</td>
</tr>
<tr>
<td width="90">1pm</td>
<td>
<div>Craft Conversation | Depth of Field: The Canon Cinema EOS C100 Camera</div>
<div>Ben Kasulke (Laggies, Rat Pack Rat) dissects how he used the Cinema EOS C100 camera on an upcoming low-budget indie, while director/cinematographer Sterlin Harjo (This May Be The Last Time) and four-time Sundance alum Ondi Timoner (A Total Disruption) weigh in on the camera’s documentary and web series features.</div>
</td>
</tr>
<tr>
<td width="90">3pm</td>
<td>
<div>Canon Spotlight: CNN Original Series</div>
<div>Location: New Frontier Microcinema (136 Heber Ave)</div>
<div>CNN, the long-standing authority for television news, made a splash in 2013 with their unconventional, personal, and powerful original series. Join the filmmakers behind Morgan Spurlock’s award-winning Inside Man, Alex Gibney’s Death Row Stories, and Robert Redford and BCTV’s Chicagolandfor a discussion about the lengths they go to capture their compelling stories and why they rely on Canon. The 90-minute spotlight and screening will offer a behind-the-scenes look into these CNN shows.</div>
</td>
</tr>
<tr>
<td width="90">5pm-6pm</td>
<td>
<div>Canon Closing Cocktail Hour</div>
<div>Festival attendees are invited back to Canon Craft Services after the Spotlight screening and panel to demo Canon gear.</div>
</td>
</tr>
</tbody>
</table>
<p>The daily one hour show Live@Sundance, which will provide the most comprehensive overview of Sundance Film Festival 2014 for the online community, will be shot exclusively on Canon Cinema EOS cameras, with support from YouTube, Weber Shandwick, HP, and Adobe Creative Cloud. This show will be streaming to<a href="http://youtube.com/SFF" target="_blank">YouTube.com/SFF</a> at 11am MT from YouTube’s venue on Main Street</p>
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anthonyd · Jan 18, 2014

My son was drawing tonight and I wanted to take a few pictures of him, but didn't want to bother setting up lights, so I made a ... "soft box" out of printer paper leaning against cereal boxes and put in my flashgun with a remote trigger.
Any feedback is welcome (including negative) and I hope to see other people's crazy quick and cheap solutions posted.

Gas am · Jan 18, 2014

Why was my last thread locked? I only wanted to post a possitive on canons reaction to my eos problems.

slclick · Jan 18, 2014

I'm debating between the RRS L84, Wimberley P20 and the Kirk LP-41 for my new 70-200 2.8L IS2.

Any great reasons why I should pick one over the other? When not mounted on the ball head I will be using a RS-7 strap. I'm not certain that the P20 has a hole for the FR-3 on the strap. It looks like the other two do have threaded holes.

Thanks in advance

StudentOfLight · Jan 18, 2014

At the moment, the EOS M is the only MILC Canon markets globally and as yet we've only seen an upgrade/replacement offering in Asia which is catering to the same needs. Surely there is opportunity to create a range of different mirrorless bodies with distinct features catering to a variety of customer needs. How long before you think we will see tiered mirrorless cameras?

There are so many ways to differentiate bodies: Size, Weight, Resolution, Burst shooting speed, Buffer size, Battery life, Weather Sealing, Durability, Memory System, AV Interfaces etc...

How do think camera manufacturers could capitalize on weight savings offered by mirrorless camera designs? Also, what feature set would most suit your type of photography or your existing camera bag?

Pitbullo · Jan 18, 2014

I was just wondering if the new 7DII would get another name than 7D mark II, as I was trying to understand Canon naming policy.

We have the four digit cameras (1100D) which are really basic dSLRs. APS-C
Then there is the three digit cameras (600D), entry level cameras. APS-C
Two digit cameras (70D), enthusiast level cameras. APS-C
Single digit cameras (5D3). Entry level and professional level. Full Frame

Then we have the 7D. A more professional type camera, but not Full Frame. So, where does this fit in the naming scheme? Single digit cameras are all Full Frame! If the single digit is not for Full Frame, but for professional style cameras instead, where does the 6D then fit?

Either the 7D should have another name since single digit cameras are all Full Frame, or the 6D should have another name since it is more of an an entry level/buget camera.

Thei naming sceme may have started out well, but it is getting a bit confusing at the top now.

Yes, it is weekend, and yes, I have too much time to spend on nonsense today

J.R. · Jan 18, 2014

Hi,

I'm looking for studio lighting and am currently considering the Elinchrom FX 400 system. The system comes with the skyport radio remote trigger.

I also have a 430EX II. Will I be able to trigger the 430EX with the Elinchrom system? If not, how do I go about it.

Help needed by a lighting newbie

Thanks in advance ... J.R.

KKCFamilyman · Jan 17, 2014

Anyone have an inexpensive suggestion?

wearle · Jan 17, 2014

To all,

I appreciate all your comments in the last post.

I went back to the hill and took some daylight images. Please, take a close look at the image below, especially the left-hand side. I focused on the road near the center. This would be considered infinity which is what the lens was indicating. The lens has both the tilt and shift at the zero position. There was no wind. I used a sturdy tripod and a remote release. Thoroughly looking over the image, I would have to say this is the worst performing lens I've ever seen. Only a small area around the center is focused. The left had side is horrendously out of focus. At these distances, everything should be in sharp focus, except perhaps the closest few feet. As mentioned before, focusing at infinity at f/4.0 with a 24mm should yield a plane of sharp focus from 16 feet to infinity.

I would love to here your comments based on this new image.

Emigrant hill non-shifted TS-E 24mm
http://www.northwest-landscapes.com/images/testing/ts-e_24mm_non-shifted2.jpg

Perhaps a lens element or two is out of alignment. I don't know, but something is definitely wrong with it.

Thanks,

Wade

lv2rescue · Jan 17, 2014

HI folks,
I bought an 800 to use on my 1DX and then I put the 800 on my 7D and a VIII 1.4 Canon converter and I cannot get the autofocus to function. Is this an incompatibility issue I overlooked? Thanks for any feedback.

cayenne · Jan 17, 2014

Hi all,

I was reading this article and watching a video about anamorphic adapters and was wondering if anyone here had experience with them, and could possibly recommend some for use on Canon EF lenses? If not too $$$...I was thinking it would be fun to experiment with....

Here's the article I was looking at:

http://nofilmschool.com/2013/10/get-started-shooting-anamorphic/#more-69717

Thoughts?
Experience?
Links?

Thanks in advance,

cayenne

xvnm · Jan 17, 2014

Hi,

One thing I never quite understood is why Canon has different naming schemes for its entry-level product line across North America, Europe, and Japan.

I mean, the whole "the smaller the number, the better the camera" as a whole is awesome, so why ruin it and replace it in North America with T2i, XSi, SL1, T3? Isn't 600D, 100D, 1000D much better?

Well, you may be tempted to answer that the reason is historic, that Canon already had the Rebel brand well-stablished here. But that only pushes the question backward: why did they name it Rebel back in the film days to start with?

Which begs the question: now that we have a 100D camera, what will be of the x0D line after the 80D and 90D are released in a couple of years? Makes me wonder if they are going to bring the Elan brand back.

xvnm · Jan 17, 2014

Hi,

I think I may soon have a couple hundred bucks to spare on a shinny new lens. I'm wondering if I should get the 135L or the 100 Macro IS. They cost the same here in Canada. What would you recommend? I'm an amateur, not a professional, and I just want to have fun taking beautiful pictures. My current equipment is listed below.

Marsu42 · Jan 17, 2014

Breakthrough at Magic Lantern, imho this elevates it to a must-have and makes Canon look really stupid: They at last figured out what the digic registers having to do with iso are, and by fine-tuning them your camera now gets an additional 1/3-1/2 stop of dynamic range, no strings attached. Just use +1/3 stop of ec (ML also has ec in m mode, just like the new 1dx fw) and you're done.

This means that for example on 5d3, iso 800 with ML has more dynamic range than iso 100 with Canon :-> ... and at high iso you're getting 7% more dr which is nothing to sneeze at, esp. since it builds upon Canon's advantage vs. Nikon: d800@6400 = ~8.3 & 5d3@6400 = ~9.4 ev making good ol' Canon the superior sensor for low light high contrast shooting, esp. the newer 6d.

Code:

# 5D3
isos =      [ 100    200    400    800    1600   3200   6400  12800 ];
dr =        [ 10.989 10.928 10.799 10.594 10.153  9.521 8.584 7.778 ];
dr_tweak =  [ 11.371 11.334 11.239 11.028 10.598 10.017 9.131 8.360 ];

Read all about it here, test modules are about to be out, next coming to a nightly build near you! Here's the dev thread if you want to follow the development: http://www.magiclantern.fm/forum/index.php?topic=10111.msg97780#msg97780

If you feel exposure challenged, you can use the ettr module to automatically set the exposure so it covers exactly the dynamic range of the scene with optimum snr

Edit: Updated 5d3 numbers & changed topic, keeping the same(!) iso value the general improvement is more like 1/3ev and not 1/2ev like first reported (it's wip, people!) because the ML iso trick lowers the nominal iso a bit.

Zv · Jan 17, 2014

I know it's been done on other forums (prob this one too) but I thought it might be fun to see what we all call our lenses!

Also, there seems to be some lenses that have no fixed nickname. Let's see who can come up with the funniest name!

Who's up for some Friday fun??

My pitiful attempt -

Samyang 14mm f/2.8 = Samshroom
17-40 f/4L = Diet Coke Bottle
24-105 f/4L IS = Genralux
70-200 f/4L IS = Meatgrinder
135L = Pipe Dream

Am sure you guys can do better than me!!

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