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Canon Rumors · Dec 12, 2013

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<p><strong>Tech Support

</strong>The story below has some good information in regards to the <a href="http://www.bhphotovideo.com/c/product/847545-REG/Canon_5260A002_EOS_5D_Mark_III.html/bi/2466/kbid/3296" target="_blank">EOS 5D Mark III</a> and some third party batteries. Not all of them are created equal, and a few companies will support you in making sure you get batteries that are 100% compatible.</p>
<p><strong>Says Jon

</strong><em>When Canon upgraded the firmware of the 5D Mark III to 1.2.2/1.2.3 they killed some of the functionality of aftermarket batteries.</em></p>
<ul>
<li><em>Each time you put a battery in it required you to acknowledge “Communication with the battery is irregular” and the camera would not register it.</em></li>
</ul>
<p><em>My contact at Canon explained this was an effort to cut out counterfeit batteries claiming to be Canon batteries. </em><em>I explained to him the 3rd party batteries I used were clearly NOT labeled Canon and in addition contained a chip to allow it to communicate properly.  </em><em>My contact explained that Canon would probably never make a change backwards on this situation.</em></p>
<div id="attachment_15194" style="width: 585px" class="wp-caption alignnone"><a href="http://www.canonrumors.com/wp-content/uploads/2013/12/5d3battery.jpg"><img class="size-medium wp-image-15194" alt="Third party battery error messages." src="http://www.canonrumors.com/wp-content/uploads/2013/12/5d3battery-575x215.jpg" width="575" height="215" /></a><p class="wp-caption-text">Third party battery error messages.</p></div>
<p><strong>Solution</strong>

Jon contacted the vendor that makes the batteries he likes: Maxtek/YoKool, they advised him that they now have a new battery that is 100% compatible to the new firmware. The new batteries he got directly from them do not have the communications issue and they will register with the camera.</p>
<p>Maxtek/YoKool only sells these batteries through Amazon. Maxtek/YoKool advises at least for the moment (until Amazon stocks reduce and have the new batteries) to make sure to order the batteries directly from them, not use the Amazon fulfilled link:  <strong><a href="http://www.amazon.com/gp/product/B0053WG2A2/ref=as_li_ss_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B0053WG2A2&linkCode=as2&tag=canorumo-20" target="_blank">See the correct batteries here</a></strong>.</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

Ivan Muller · Dec 12, 2013

I got a new 85mmf1.8 to go with my, also new, 6D, and yesterday I took a stroll down two streets in downtown Pretoria. to test the is combination and see how it would work in the type of location that I usualy lookout for...more images and info can be seen here at . . .http://thelazytravelphotographer.blogspot.com/2013/12/blue-is-colour.html

ereka · Dec 12, 2013

My wife wants a DSLR to replace her IXUS point & shoot, partly because some of her friends have SLRs ... so a sort of "keeping up with the Jones's" ... but mainly for better IQ. Main use will be shooting at parties and sharing the images with her friends on Facebook (although I might just borrow it on occasion as a walk around camera for non-professional use).

I already have a number of spare Canon lenses and was thinking of donating my 24-105L to her and thus limiting the financial outlay to 'body only'. It would also have better IQ than any of the 100D/700D kit lenses.

I was also thinking I might donate my old 10D, which has been sitting in a cupboard unused for the last 8 or 9 years (so no financial outlay at all other than to buy some new batteries, as the originals have died - you might consider this a 'cheapskate' option but the IQ from the 10D is still as superb as it ever was and 6mp should be more than enough resolution for the intended purpose). The only drawbacks might be that the 10D doesn't shoot video and possibly more significant it doesn't have any built-in flash, so I'd have to either donate my old 580EX or buy a new one. The need for an external flash unit would also make the whole rig quite large and cumbersome and not really what might be described as 'cute' (my wife likes 'cute')

I'm thinking that the 100D might be a better option because it's small and 'cute' and has built-in flash and video. It also has cute Kids, Food and Candlelight modes which might appeal.

There again, the 700D doesn't cost significantly more and might be better balanced with the 24-105L lens? It also has a 'cute' and useful vari-angle rear LCD screen. Also, AF has 9 cross-type points versus 1 cross-type point on the 100D, which might be an advantage for shooting in dimly lit party venues?

So, I'll be grateful for your thoughts - on a limited budget for the purpose described above (effectively a high quality 'point and shoot' for my wife and an occasional walk-around camera for myself) which do you think would be the optimal balance between financial outlay and usability?

1. ('cheapskate' option) 10D body, 24-105L, 580EX, a couple of replacement batteries

2. 100D body, 24-105L

3. 700D body, 24-105L

4. some other option (bearing in mind that my wife has her heart set on a DSLR)?

Bohns · Dec 12, 2013

Hello,

I would appreciate some user’s advices to choose a light go-to length for discretion, street photos, architecture, landscape.

I am FF (5D mark III), and already own 17-40, 24-105, 40 STM and 50f1.4. But I look for something wider than the 40, and more discrete than the L zooms.
I don’t consider the 35 f2 IS as being too close to the 40. I indeed hesitate between the 24 f2.8 IS and the 28 f2.8 IS. The pros of the one are the cons of the other.

My intention is indeed to have a very light kit with the wide prime, the 40 STM, and the 50 f1.4 for interior and low light.

Any insight ?

Thanks by advance.

Ivan Muller · Dec 12, 2013

Yesterday I took my new 6d & 85mmm f1,8 lens for a test run in Steve Biko & Voortrekker streets in Pretoria, south Africa...more of my images and thoughts here at . . .http://thelazytravelphotographer.blogspot.com/2013/12/blue-is-colour.html

surapon · Dec 11, 2013

The most interested B&W photo that make me laugh.
Enjoy
Surapon

Richard8971 · Dec 11, 2013

I had purchased a Lexar 32GB Professional 1000X CF card a few months back and had to return it because it had gone bad. The second replacement card had also gone bad. (Both had gone bad rather quickly, within a month) I had the second one replaced and sold it. Since I still needed a card to shoot with I purchased 4 Sandisk Extreme 16GB cards for my 7D. (This is not a rant against Lexar, I simply have no idea why those 2 cards went bad. Before those and after those I have had NO issues with any other cards I own)

The Extreme cards are fantastic, but I loved how fast the Lexar card cleared the buffer on my camera. Now that Sandisk has enhanced their Extreme Pro level of cards (without raising the price), I wanted to see how the new cards worked with my 7D.

My 32GB Sandisk Extreme Pro CF card showed up today in the mail. Got a great deal on it from Adorama.

I stuck a 16 Extreme card in and shot until the buffer was full (RAW), approx. 8-9 seconds to clear.

I then put the 32GB Extreme Pro card in and did the same thing, about 4-5 seconds to clear.

Not a HUGE increase, BUT almost twice as fast and IF you are wating on your buffer to clear before you can take another shot, each second waiting can feel like an eternity. LOL

Seems like for a few more bucks (about $90 bucks for a 32GB Extreme card vs $130 for an Extreme Pro) you can have a speed boost for your 7D.

I only brought this up because, before the V2 firmware update, the 7 did not seem to be able to take advantage of the UDMA 7 standard and now, after the V2 update, it can write at the faster speeds.

Just FYI.

D

Andreos · Dec 11, 2013

I have an older 24-105mm f/4 L IS (manufactured March 2006, according to the date code). I used it extensively on my 5D over the course of several years, and on my last trip with it in the winter of 2010 the IS mechanism started having problems, it would flutter and buzz intermittently and ceased to do any stabilization.

I contacted a local repair shop of good repute and had them replace the IS mechanism. It was a $400 repair once tax was added on. When I got the lens back I did a cursory test and confirmed the IS was fixed and working well. But before I could really give the lens a work out, a family crisis came up, and everything got put on hold for a couple of years....

Fast forward to the present and I am getting back to my photography. I've acquired a 6D to replace my 5D, and having done some shooting, it's clear that my trusty 24-105mm is not up to snuff. This afternoon I did some controlled tests on a tripod, focusing manually with live view so as to eliminate any AF variables. At f/4.0 the lens is very blurry even in the center (all focal lengths). It gets better at f/5.6, further improvement but not as dramatic at f/8.0, and f/11 is uniformly the best. I remember previously on my 5D there was a little bit of softness wide open, but it was not as bad as it is now. I suppose the higher resolution of the 6D is mercilessly revealing something the 5D couldn't resolve, but my other lenses are working very nicely on the 6D.

I am thinking that some critical aspect of the lens optics got messed up at the repair shop. The repair work is far out of warranty, and I don't want to throw any more money at this lens unless it is a sure thing. Recent postings in Roger Cicala's blog have me thinking, there is no such thing as a sure thing, when it comes to lens repair. So I'm debating what to do. I really like the 24-105mm zoom range and have got to have IS. The only direct alternative seems to be the new Sigma 24-105mm, but it's not weather-sealed. I often shoot in dusty conditions so I am skeptical of getting that lens. The Tamron 24-70 f/2.8 VC looks interesting but there's a lot of missing millimeters from 70 to 105! I am actually thinking of buying one of the "white box" 24-105mm lenses that are available for about $700. (And then do what with the old lens? I can't sell it in good conscience.)

I am wondering what some of you folks would do in this situation?

ishdakuteb · Dec 11, 2013

hohoho... it finally comes, but where is the flash. price is set a little more than expected with a little better specs comparing to canon version (so far on paper). below is the link:

http://www.lightingrumours.com/yongnuo-yn-e3-rt-radio-controller-officially-released-4913

now, i want to see an officially released of the YN-600EX-RT.

canonikon · Dec 11, 2013

Hi all,

I'm a long-time lurker, new to the forum, first post.

I recently purchased Canon 1.4x and 2.0x v.3 extenders (both from Amazon). The 1.4x came packaged sideways in the circular foam insert. Everything else about the packaging looked normal, and the extender did not look used. The 2.0x extender was packaged as you would expect, with the barrel oriented up and down, to fit in the circular foam.

Has anyone else seen this? Is the sideways orientation normal for the 1.4x v.3? I've searched and found nothing. The couple of unboxing videos I've seen were of the 1.4x v.2, which was packaged differently.

Thanks!

RC Brown

Josh-H · Dec 11, 2013

Shot with Canon EOS 1DC cameras in the Arctic this August. https://vimeo.com/81547768

Dec 11, 2013

I recently purchased a bundle of Honl modifiers for Speedlites (grids, snoots, and gels), to use on my 600EX-RT flashes. I wanted to determine the optimal zoom setting for them (from the available 20-200mm zoom settings on the flash head), and took the opportunity to test them out, along with a couple of diffusers.

The setup was a 600EX-RT on a light stand, 5 feet from a neutral-colored wall (measured distance between front of flash head and wall surface). Images were captured with a 1D X and 24-70mm f/2.8L II at 35mm, 1/200 s, f/8, ISO 200. Ambient light was nil, and the flash was triggered with an on-camera ST-E3-RT. Flash power was set manually, 1/32 power in most cases, but higher power was used for the diffusers (1/8 power for the Sto-Fen OmniBounce, 1/16 power for the Honl Heavy Frost filter). The dots on the wall are spaced 12" apart, so beam spread can be determined from the images.

First up is the bare flash. The 14mm setting is the built-in pull-out diffusion panel.

The Sto-Fen provides a pretty even distribution of light, and is able to effectively diffuse even the 200mm zoom setting.

The Honl Heavy Frost diffuser (part of the Color Effects Gels kit) is weaker than the Sto-Fen, and has some fall-off at the higher head zoom settings.

The shape of light from the snoots is obviously quite dependent on how you connect the Velcro bits and how you shape the end of the tube. With the 5" 'shorty' snoot, at 70mm and narrower zoom settings the pattern of the flash zoom head is apparent within the area projected by the snoot itself.

The 8" snoot gives a tight beam with no effect at long zoom settings, although light lost to the zoom mechanism is apparent wider than 70mm.

Unlike the snoots, the honeycomb grids deliver a nice, circular beam (although the grid must be flush and tightly attached for the beam to porject straight). With the 1/4" grid at zoom head settings wider than 70mm, there is a horizontal pattern evident in the beam. One online comparison that I found shows a smooth beam with no pattern; I think this is because those shots were focused on the flash itself (shot from behind) and not the wall onto which the flash beam was projected. At 80mm and narrower, the circular shape is affected by the shape of the light exiting from the zoomed head.

With the 1/8" grid, the horizontal pattern is evident at 35mm and wider, while at progressively longer zoom settings the falloff is faster and spill is reduced even further.

Get out there and shape the light!

qwerty · Dec 11, 2013

Camera makers artificially boost the ISO (i.e. invisibly set the ISO and noise to be higher than what you told it to) when you are using apertures wider than f/2.8 because digital sensors don't capture the rays coming in at oblique angles (i.e. large relative angle with the normal vector) very well. (This also has implications with respect to the amount of background blur; film will give better blur at large apertures.) This means that larger apertures have less benefit than you would naively expect on digital cameras.

My question is whether newer lenses and sensors do better in this regard than older ones. Does anyone have the means to test this? If you have a "newer" fast lens, you just need to set the aperture, remove the lens (you need the lens attached to stop down the aperture), tape the contacts (to keep the camera from ISO-cheating), take a test shot, and repeat with a set of aperture/time combinations that should give the same exposure. (1)

I am particularly interested in the Sigma 35mm on a 5d iii, 1dx, or 6d (what with the talk of a new Canon 35mm and all)

(DxO measures the lens transmission in T-stops, but they only seem to do it wide open {at least as far as I can see with recent lenses}, so you can not tell the difference between light loss due to poor hemispherical integration at the sensor and other sources, e.g. reflections or manufacturers lying about the aperture.)

(1) One potential problem with this testing methodology is that the advertised aperture is usually different (read: faster) than the actual aperture. I do not know if the apertures reported when stopped down are accurate in an absolute sense or based on number of stops from wide open.

MrKorney · Dec 11, 2013

I have a buddy who really enjoys doing time-lapse photography and high frame rate video with his GoPro but not that interested in straight still photography (even though time-lapse is technically stills converted to a video). What kind of gear, canon or not, would you recommend to get a more professional looking finished product. The GoPro is great for all that it can do but its quality only goes so far. Thanks!

Canon Rumors · Dec 11, 2013

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<p><strong>Firmware Version 2.0.5 incorporates the following fix:</strong></p>
<ul>
<li>Fixes a phenomenon in which the image files cannot be transferred using the FTP protocol via USB cable after the Canon EOS 7D camera has established a wireless connection to the Wireless File Transmitter WFT-E5A.</li>
</ul>
<p>Firmware Version 2.0.5 is for cameras with firmware version 2.0.3. If the camera’s firmware is already Version 2.0.5, it is not necessary to update the firmware. Once the camera is updated to version 2.0.5, it cannot be restored to a previous firmware version.</p>
<p>Download Firmware Version 2.0.5 for the EOS 7D;

<a href="http://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_7d#DriversAndSoftware" target="_blank">http://www.usa.canon.com/cusa/consumer/products/cameras/slr_cameras/eos_7d#DriversAndSoftware</a></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

jrista · Dec 11, 2013

It's been a while since I last scanned through Image Sensors World blog. Around the beginning of August, as a matter of fact. Since that time, they noted that Canon filed for a "Dual Scale" CPADC patent:

http://image-sensors-world.blogspot.com.es/2013/08/canon-files-for-dual-range-column.html

If I understand the diagrams and the patent correctly, and I am no CMOS engineer, it sounds like Canon is maybe following ML's lead in using a dual gain (i.e. Dual ISO) approach to achieving higher dynamic range. Given how long it takes to produce technology viable enough for a patent, I suspect Canon had this idea long before ML...perhaps it was simply that ML got wind of this patent, and looked for a way to achieve the same thing with current Canon sensors...either way, interesting.

The more interesting thing to me than the dial gain, though, is the CP-ADC design. I've long said that Canon needs to modernize their sensor design, get rid of the noise generators (i.e. ADCs) in their DIGIC chips, and bring all that image processing onto the same die as the rest of the sensor. This is what Sony did (although they took it a step farther and converted to a digital readout/CDS approach, whereas as far as I can tell Canon's is still analog CDS and whatnot until it is actually converted to digital), and they achieved some significant DR benefits from the move.

Anyway, personally, I'm glad to hear Canon is investigating these options. CP-ADC is something I've wanted Canon to do for a long time, happy to see they might actually do it. God only knows if/when this technology may actually find it's way into their sensors...I only hope and pray it is soon. And dual-gain to boot...which has the potential to support FAR more than 14 stops of DR. With a 16-bit CP-ADC, we might even see a full 16 stops of DR (and who knows what might come after that...20-bit, 24-bit ADC? Can't imagine the file sizes though...46mp * 24bit...phew, 1.1Gb RAW (uncompressed) data size! Canon will need a DIGIC more than four times as fast as the current DIGIC chip...)

petach · Dec 10, 2013

Birds flocking under a dramatic sunrise (faved by Yahoo editorial staff)

6D +70-300L

Rush Hour - Maldon by petach123 (Peter Tachauer), on Flickr

Fuji X100S, Dawn-Maldon 1 by petach123 (Peter Tachauer), on Flickr

Dawn - Maldon (2) by petach123 (Peter Tachauer), on Flickr

JumboShrimp · Dec 10, 2013

I will be receiving my 50/1.2L pretty soon and want to experiment with extreme close-ups of flowers at f/1.2. I have the option of using an extension tube or one of Canon's 2-element close-up lenses. If you have any experience using one or both of these methods, what are your impressions and the differences (if any) in the effects of each? For instance, does the bokeh change with the addition of the CU lens? (Any specific images would be appreciated.)

pwp · Dec 10, 2013

Here's an interesting piece to be taken with a grain of salt that suggests photographing an event may interfere with your memory of that event:
http://www.smh.com.au/lifestyle/life/taking-photos-interferes-with-memory-study-20131210-hv54b.html

I thought about it for a minute and I have to say I agree, though from a different context to the research results. In my work I've often photographed absolutely extraordinary people, many with international reputations across all sorts of professions and pursuits. This has often been a necessarily short session, frequently with a journalist/reporter and the interview and photos may have to be completed in 30 minutes. Afterwards people may ask me, "lucky you meeting that person, what are they like, what did they say...?" And because I have been so locked onto getting the shots, I realise my memory of the experience is flawed. Of course it's not always this way, but some great encounters certainly have left me with scant recollections because of the upfront pressure to come back with great shots.

You can extrapolate this out into all sorts of areas. For example on the home front, I see other parents at kids Christmas concerts so intent on getting video coverage of their child that they miss the magic of the moment completely. And so on. Food for thought as we head into Christmas and vacations.

-pw

ryllz75 · Dec 10, 2013

Hi All,

Hope to hear your thoughts, recommendation and expertise as it regards my dilemma..

Current Gear: 5d MKIII, Sigma 35 f1.4, 50mm f1.2, 16-35 f2.8 MK II, and 70-200 f2.8 IS MK II. I shoot both with Natural light as well as with a strobe using a Mola beauty dish on locations 80% of the time. We also do studio shoots about 20% of the time.

I normally shoot Portraits/Engagements and some Events. We hope to get in to weddings in 2014.

Dilemma:

I would love to own the 85 1.2 II without shelling for too much more money out of pocket. I am thinking of selling my 70-200 f/2.8 IS MK II and buying a used/refurbished 85mm f/1.2 and the 70-200 f/4 IS for the reach. With the high ISO capability of the 5D Mark III I should be able to counter the 1 stop loss of using the 70-200 f/4 instead of the f/2.8.

What are your thoughts/opinions on this? im at a crossroad and would love to hear other feedback from fellow photogs who has been in the same position or have experience with these lenses...

Thanks in advance!

Dejjvid Photography · Dec 10, 2013

Here are some photos I've taken!

Olympic Impression by Dejjvid Photography, on Flickr

Danish Shot Putter by Dejjvid Photography, on Flickr

Sprint by Dejjvid Photography, on Flickr

Point of release by Dejjvid Photography, on Flickr

Hurdles in my way by Dejjvid Photography, on Flickr

Cheers!

mifho · Dec 10, 2013

I just received my new 70-200 f2.8 IS II a few weeks ago and put on a Hoya filter I had been using on my 24-105. Well, the other day, the 70-200 fell off the table onto the hardwood floor. I heard glass break and was fearing my $1900 investment was just ruined. Luckily, it was just the filter. I thought I had escaped damage but after gently cleaning out the glass, I noticed there are now some scratches on the front element. If I had not had a UV filter on there, the lens would have been undamaged. I think I'm going to reserve filters for situations where I'm shooting in dirty, dusty, sandy, snowy or rainy conditions but leave them off until then.

Canon Rumors · Dec 10, 2013

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<p><strong>Canon EF 35 f/1.4L II

</strong>We received a a hands-on claim about a prototype Canon EF 35mm f/1.4L II. We’re told that the lens is in the hands of select photographers and could be announced in the first half of 2014.</p>
<p>It’s said that the lens is slightly wider than the current version but weighs a bit less. The lens has a new type of coating on at least one of the elements. The version that was tested had a 77mm filter thread.</p>
<p>This lens has been long rumoured for replacement and a few patents (<a href="http://www.canonrumors.com/2013/10/patent-canon-35mm-f1-4l-ii/" target="_blank">here</a> and <a href="http://www.canonrumors.com/2012/07/patent-canon-ef-35-f1-4l/" target="_blank">here</a>) have shown up over the years. However, it’s sounding like we may finally get to see one in 2014.</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

sunnyVan · Dec 10, 2013

Got a 24-70ii 3 weeks ago. The box was black and gray instead of white with red stripe. Initially I thought maybe Canon was switching to new design. Today I got my new toy--100L. It's the familiar white with red.

I got my 24-70ii thru buydig.com. it came with usa warranty card. The lens works great with no clicking noise. It's a pretty bad idea to return just because of the box, right? But still, it's weird. ..

P_R · Dec 10, 2013

Hello.
I and many of our friends are in the baby growing phase of life. I have one and one on the way. So as is natural, a few friends have asked me to do pregnant mum shoots. I accepted the first and was generally disappointed with the results and have declined further requests until I figure out the best poses and / or techniques.

Do I do a lingerie shot? Lingerie seems inappropriate for what should be a celebration of (new) life.
Nude, Demi Moore style then, in maybe b/w? Don't know, especially hard to do with friends though.
Mums dressed in sports type gear to accentuate the bump? But what if mums are larger and not happy with sports clothes?

So my question is have you done pregnant women photography and what poses worked? And if anyone has links to sites, I'd be happy to follow them too. Suggestions welcome especially as I'll be using my local model as a test!

Thank you for any suggestions.

P_R.