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70-200 f/2.8L IS II Problem

P
Hello,

As a long time reader and first time poster, I would like to thank the many who contribute to this forum. My technical knowledge and applied skills have greatly increased since reading this forum.

Now, I am seeking advice on how to deal with a recent problem that I have encountered. I purchased a EF 70-200 f/2.8 IS II three weeks ago. As soon as it arrived, my excitement quickly turned to concern when I noticed something of a blemish on one of the elements (the element just before the front element). I am not certain as to what it is. It could be dust or a scratch, but my untrained eye is unable to tell.

What course of action would you recommend? I have not registered the warranty. I pondered this and decided to hold off in the event that I should send it back and request a different copy.

Any insight is appreciated.
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6D kit with 24-105 F4L for $2499 at Amazon

toodamnice
I just ordered mine and I cannot wait to get it!!! I think this is a steal.

Some questions...

How is this lens @24mm wide open and stopped down to f8 or so? I am a storm chaser and need the wide end to look good. I need my wide lens to be good in low light and in bright light.

How is the Canon 35mm f2 on a full frame?

What is a good ultra-wide third party lens for a full frame? I simply cannot afford the 14 f1.4L II right now.

Get your 6D kit while the price is low and thanks for your advice...

Chris

Edited to change the lens that I cannot afford now. ;)
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1 Billion Pictures per Second

C
http://www.golem.de/1112/88379.html

do you know this already, I found it very interesting,

I´m not a very logical thinking type of person, and I can´t explain if a Camera can record 12fps, only in full light or also in a disco. As far as I know the fps needs the shutterspeed therefore it can only work in full light, so but whats in a hall when you take pictures from a prom (Maturaball in german) the shutterspeed automatically turns longer, but than you can´t record 12 Images per second.

I question this because I had an EOS 400D which made 3fps and with that i recorded some Neonlights in a disco which ran around the dancefloor, because i loved how it run threw there and liked to make a Gif Animation, now 3fps isn´t much and the shutterspeed don´t must be as high as by 7fps I haven´t tried it yet with a 7D in that disco, but for my opinion the pictures must be darker than with 3fps and so also the 1DX have to have a slower shutterspeed in disco by 12fps when i won´t change the iso.

So I´ve searched for an answer how long the minimum shutterspeed for 12fps is, typed in google and the first link what hit my ey was the link above. Sorry it is in german, but Video is English

Hope you know what I mean and don´t tease me if i´m wrong

Sorry for my bad english also that link is in german, and I hope I don´t make a mistake when posting this in that section or posting it by the way

With friendly regards

Colin
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Opinion on upgrades

I currently shoot with a T3i, and 75% of the time a 50mm 1.4. I also have the 50mm 1.8/18-55 kit lens/Canon EF 55-200mm f/4.5-5.6. Of those, I only really reach for the kit lens for the zoom capacity, and the 1.8 as backup.

I am heavily considering the 17-40mm f/4L as my next lens purchase. Additionally, I am looking to upgrade the body itself. I am torn between a higher level but still cropped sensor (like the 7d), which would allow me to keep on my nifty fifty without dishing out an extra grand for the 1.2. But when I see the image quality of cameras like the 5d mark ii, it really makes me rethink. Do I need to take the plunge? Would the 50mm 1.4 really be too soft for the full frame? I occasionally feel like the reason the T3i has decent quality is because it's a newer body and therefore I wonder if the jump to a higher level cropped sensor is even really worth it. It can still take impressive quality images (in my opinion):
7801708740_b79e1a8f40_b.jpg

But I am looking for more. Ultimately, I am after the best image quality for the best bargain there is. I mostly shoot outdoors/95% of the time never use flash.

If anyone would be willing to offer advice (specifically, models) out of that jumble I would greatly appreciate it!
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Grey (Gray) Market Advice

P
Hello All,
So I'm getting pretty close to buying my next lens, and have narrowed it down to the 85mm f/1.2L. Unfortunately, I missed out on the $1,799 deal amazon had around the holidays, but I noticed Adorama has the 85mm for $1,899 via "Grey Market". So my question is: does anyone have experience with purchasing Canon gear over the grey market, and would you recommend it (or vice versa)? It's a $100 difference, which would equate to a B+W filter I'd likely buy with it. Or are there any rumors about the price dropping to the vicinity of $1,799 again?

Thanks!
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Having fun with a couple of 100-years-old lenses

NormanBates
kodak_3g_1910.jpg


I've got a nice collection of very old cameras:
* Kodak 3 Folding Pocket Model G (USA, 1910)
* Kodak Vest Pocket (USA, 1913)
* Ernemann BOB OO (Germany, 1917)
* Kodak Retina 1 A (Germany, 1951)
* Taisei Koki Welmy SIX E (Japan, 1952)
* Kershaw King Penguin (England, 1953)

And I've done some lens whacking with a DSLR: you hold the lens in front of the camera, without attaching it, and shoot video like that, moving the lens forward and backards to focus, and tilting/shifting it by hand, letting light leak in through the sides, etc.

So, why not mix those two? I took the two cameras that will allow me to put my NEX-5N where the film usually goes (that would be the Kodak 3 G -pictured above- and the Ernemann BOB OO), took away the back side, and placed them safely on a bench or similar. Then I took my Sony NEX-5N, took the lens away, and manually held it inside the bellows camera, looking at the screen while moving around the NEX in order to get good focus and take a still.

You can see the results here:
http://www.similaar.com/foto/oldcam/oldcam.html

My take: they look so good that it doesn't even feel that they were shot with such old lenses! (specially the Kodak: click on the first image to see it at full resolution: that 100-years-old f/4 prime is surprisingly sharp!)
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Canon U.S.A. Raises Awareness About Counterfeit Accessories For Digital Cameras And Camcorders And P

A
HTML: 
<div name="googleone_share_1" style="position:relative;z-index:5;float: right; /*margin: 70px 0 0 0;*/ top:70px; right:120px; width:0;"><g:plusone size="tall" count="1" href="http://www.canonrumors.com/2013/01/canon-u-s-a-raises-awareness-about-counterfeit-accessories-for-digital-cameras-and-camcorders-and-promotes-consumer-safety/"></g:plusone></div><div style="float: right; margin:0 0 70px 70px;"><a href="https://twitter.com/share" class="twitter-share-button" data-count="vertical" data-url="http://www.canonrumors.com/2013/01/canon-u-s-a-raises-awareness-about-counterfeit-accessories-for-digital-cameras-and-camcorders-and-promotes-consumer-safety/">Tweet</a></div>
<p>Canon has started a new campaign to raise awareness about counterfit products.  The ones that affect most photographers are batteries and chargers. Unfortunately, they only give vague hints of things to check for when you suspect that you have a counnterfit product.  The main point is that you should buy from a established dealer.</p>
<p>There is a hotline setup to report issues with counterfit batteries.</p>
<p>In the USA, you can report any questionable sources or purchases to

<b>1-855-46-CANON</b>.</p>
<p><b>LAKE SUCCESS, N.Y., January 15, 2013</b> – Canon U.S.A., Inc., a leader in digital imaging solutions, has rolled out a consumer-safety initiative that will promote awareness of a consumer electronics industry-wide issue: the risks of using counterfeit accessories for digital cameras and camcorders, especially batteries and chargers. Counterfeit products are fake replicas of the real products, designed to take advantage of the superior value of the real product. These fake accessories are produced in a manner that is increasingly more difficult for average consumers to identify. Purchase of these products can lead to potentially dangerous results. Unlike genuine Canon products, counterfeit accessories may not meet government and industry safety standards and may overheat, smoke, melt, ignite and may cause bodily injury and property damage.</p>
<p>In support of this initiative, a digital campaign, with the tagline, “Play it safe. Power your Canon with Canon Power” was launched on January 8, advising consumers to avoid counterfeits by purchasing products through established retail channels. In addition, the Canon USA Website has been enlisted to educate consumers on the Canon batteries and chargers most frequently counterfeited and to provide helpful tips to spot them.</p>
<p>“Canon takes safety seriously and, as good corporate citizens, we want to inform and educate so that consumers are aware of the risks counterfeit products pose,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “We will be rolling out an initiative over the next few months, encouraging consumers to help play it safe with genuine Canon power when making an investment in a camera or camcorder and its accessories, so that they may continue to enjoy the quality experience they expect from us.”</p>
<p>For more information, visit <a href="http://www.usa.canon.com/aboutcounterfeits" target="_self">www.usa.canon.com/aboutcounterfeits</a>.</p>
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  • Locked
24mm 35mm 70mm FoV

M
I own 35L and I love it. Recently I've started thinking about getting a 24-70 zoom , but I'm not sure it will give me results as my precious ;-)
If I wanted to simulate 24mm or 70mm with 35L (excluding possible compression or distortion @ 70 and 24mm respectively) how much should I step back or forward to get mentioned 24 and 70 mm focal lenghts' FoV?
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Exposure bracketing on Canon 6D ?

T
I'm getting ready to put an order in for the 6D kit now that the "special deal" is on again. One of my needs is for HDR processing, but it's not clear to me what the AEB capability is for the 6D and whether it's flexible and broad enough. Here is a copy of a section of the Canon specs - It appears that AEB is limited to 3 exposures in 1/3 to 1/2 stops (+/- 2.5 stops ??), while the last line mentions number of bracketed shots up to 7 ?? I'd like to over/underexpose up to +/- say, 4 or 5 in seven exposures - can I do that with AEB or must it be manual only ?
And, if by manual they mean user sets the exposure for each shot, why does item (1) limit the stops and increments ??

Exposure Compensation

(1) Manual : ±5 stops in 1/3- or 1/2-stop increments

(2) AEB : ±3 stops in 1/3- or 1/2-stop increments

* Manual exposure compensation and AEB can be combined.

* The AEB shooting sequence will be standard exposure, underexposure and overexposure. With the self-timer, three continuous shots will be taken regardless of the current drive mode.

* The number of bracketed shots: 2, 3, 5, or 7 settable with a Custom Function.

Thanks for any clarifying advice.
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  • Locked
Patent: Noise & Aliasing Reduction for Small Pixels

Canon Rumors
HTML: 
<div name="googleone_share_1" style="position:relative;z-index:5;float: right; /*margin: 70px 0 0 0;*/ top:70px; right:120px; width:0;"><g:plusone size="tall" count="1" href="http://www.canonrumors.com/2013/01/patent-noise-aliasing-reduction-for-small-pixels/"></g:plusone></div><div style="float: right; margin:0 0 70px 70px;"><a href="https://twitter.com/share" class="twitter-share-button" data-count="vertical" data-url="http://www.canonrumors.com/2013/01/patent-noise-aliasing-reduction-for-small-pixels/">Tweet</a></div>
<p><strong>A patent for APS-C?

</strong>Canon has filed a patent to reduce the noise and aliasing in small pixels.</p>
<p>This sort of patent could benefit higher megapixel APS-C cameras, like the EOS 7D Mark II.</p>
<p><strong>Source: [<a href="http://translate.google.com/translate?sl=auto&tl=en&js=n&prev=_t&hl=en&ie=UTF-8&eotf=1&u=http%3A%2F%2Fegami.blog.so-net.ne.jp%2F&act=url" target="_blank">EG</a>]</strong></p>
<p><a href="http://www.bhphotovideo.com/c/product/646908-REG/Canon_3814B004_EOS_7D_SLR_Digital.html/bi/2466/kbid/3296" target="_blank"><em>EOS 7D Body at B&H Photo for $1199</em></a></p>
<p> </p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>
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7D vs 5D mk2 trade off?

LewisShermer
So I've been offered a 5Dii used for £850 which is reasonable.

last month I sold my 60D and got a 5Diii.

Prior to that I'd been shooting weddings with a 7D & 60D and as they're essentially the same camera (crop & very similar iso performance (I am also aware that they are very different cameras)) and it was very comfortable. I'd have my 17-85mm on one and 28mm 1.8 on the other and that pretty much did me. I'd just stick the 10-24 on if I needed anything wider.

2 cameras, 2 lenses. job done.

so now I have this pair: 5Diii and 7D

I still want to shoot in very much the same style but with the increase in sensor size I'm at a loss and it messes with my head with all the focal length changes. I have a 50mm 1.4 which I love on the 5Diii and this would be my replacement for the 60D with the 28mm on.

so 60D with a 28mm is almost the same as 5Diii with a 50mm

but as the ISO performance is far superior on the 5Diii I'd want to use it with the 24-105mm especially on indoor shots where I can get away with using no flash. It's mean either still working with the 7D and a 28mm or having 1 camera (the 5Diii) and continually swapping lenses (pain in the arse)

First world problems... having to swap lenses mid job.

Is there much of a difference in quality between the 7D and the 5D mk2?

I've never shot with a 5D mk2 so I have no idea on how noisy it is at high ISO or what can be acceptable. I'd use it with the 50mm shooting around f2.2 so it wouldn't have to be that high and then use the mk3 for the 24-105mm at higher ISO. I work completely manually (apart from centre autofocus and recompose) as this is a bit of a hangover from the olden film days and I don't trust a camera to guess anything about my exposure.

is it worth selling my 7D for £850 with a grip, 17-85mm & 10-24mm tamron then buying a 5D mk2??? what would be the trade offs with regards to IQ??
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Is Full Frame sharper than APS-C? My answer here

NormanBates
I have to decide between APS-C and full frame, and one of the things to look at is sharpness.

With APS-C, as opposed to full frame, you're only using the central portion of the image circle, the sweet spot: you're not using those blurry corners, and this should lead to sharper pictures. On the other hand, because the sensor is smaller but final image resolution is the same, you're blowing up the analog image that the lens projects on the sensor; this is bad, because every defect will be magnified. Which force is bigger?

I ran some tests trying to find out, shooting stills with a 5D2.

My conclusion: as a general rule, a lens will always be sharper on full frame than on APS-C, both in the center and in the corners.

You can see the tests and read a bit more about them here:
http://www.similaar.com/foto/lenstestsff/lenstestsff.html
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Tokina 11-16 f/2.8 on full frame: it's actually quite good!

NormanBates
Not only does it work on full frame (as a 15-16mm f/2.8, unless you want a hard vignette in your image), but it is actually pretty sharp!

Check my tests here:
http://www.similaar.com/foto/lenstestsff/lenstestsa.html

My test chart is not huge, so with such a wide angle lens this is a very short focus test. In these conditions, it's not the sharpest lens in the test, but even in the extreme corners it is better, for example, than the Canon 24mm f/2.8, and similar to many other lenses, including my beloved 35mm f/2.8 (which I regard as a very sharp lens even in the corners).

Trouble is, a lens can be very sharp when focusing one foot away, but blurry when you focus at infinity. I'll have to test the Tokina in the field, but based on these results, I'm already quite impressed. If it keeps its sharpness when focused at infinity, this may be the best bang-for-buck 16mm f/2.8 prime you can buy for a full frame camera.
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Potential upgrade from 7D

D
Hello everyone, recently I've been thinking about upgrading my 7D+15-85 to a 5DIII. The itch for upgrading has been nothing new, but recently I've found myself cringing at the images taken using the 7D+15-85 combo in low light when it is necessary to bump the ISO up to 3200/4000. I often times find myself wishing for a fast zoom lens/better high ISO performance when I'm taking pictures. Photography is a hobby for me, and I still hold a bit of doubt as to whether I should spend the money upgrading to a 5DIII since the 7D is an awesome camera, and the fact that I don't make money from photography.

I normally spend a lot of time looking up info and debating myself before I buy something, I spent a year "considering" before finally buying the 7D. The devil on my shoulder however, is pushing me to go for the 5DIII with a good lens. Thus for the past few weeks I've been browsing around and thinking about what focal lengths I would use more and which lenses I would most likely use. I've found two lenses that appeal to me a great deal (three lenses if I include the 24-70 f2.8LII).
The Canon 16-35mm f2.8L II and Tamron 24-70 f2.8 VC

I know these two lenses aren't in the same class as to warrant a comparison, but when using the 15-85, many a times I found myself shooting from 15-35mm and then from 70-85mm, with less pictures taken with the focal length in between. Thus I thought that I would probably enjoy the ultra-wide angle of the 16-35mm at the expense of the versatility of the 24-70mm. However, it is also hard giving up on the Vibration Compensation of the Tamron lens as it often times proves useful in situations with lower shutter speeds. The 24-70mm f2.8LII is an awesome lens with a not so awesome price tag, not to mention it doesn't have IS so I'm willing to ponder a bit more whether I would like one.

I also own a Canon 70-200mm f4L IS and a Voigtlander Ultron 40mm F2 SLIIN, so my short telephoto range is covered and the Voigtlander is a fun walk-around lens to use when I want to strain my eyes and squint my brains out when focusing. So...

What do you guys and gals think about these two lenses with the 5DIII, has anyone used either often as a walk-around lens? Should I just stick with the 7D like my shoulder angel suggests? Thanks for giving me your opinions, and also thanks for spending your time reading through this. ;D
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  • Locked
My next upgrade...

Hello all! It's been awhile. I've had my 7D for a year and a half now and I have gotten so much use out of it, still love using it.

On my list of things I "need" to get, there's the following:
  • 5D Mark 3
  • 16-35mm f/2.8
  • 24-70mm f/2.8
  • small compact for every day stuff, either a Panasonic LX-7 or the Sony RX100
  • A tripod that isn't cheap/broken like mine currently is

My compact panasonic died, and I had the luxury of borrowing a friend's RX100 that day. Holy moly, the pictures on the thing were incredible for a compact. It's almost irresistable to have my new "pocket" camera be something that good. However I had been looking to eventually replace my Panasonic with the LX7, another nice model. Tough choice. After the death of my compact I realized how much I had been using/relying on it for every day photos around where I work and such. I lug around my 7D and it's a beast and gets much better DoF than the compact cameras, but it isn't as versatile (juggling 3 lenses).

However my camera fund is now up again and I can afford a 5D Mark 3 now, though my top priority is getting rid of this 17-40 (the F4 is just extremely limiting since it's my indoor lens) and replacing it with the 16-35mm. I can actually get both, and I just got paid for some commercial shots I took of a farm which would add even more to the fund.

I could get both lenses, and the compact, and thus have an upgraded set-up in both areas to what I have now. Or I can add a second body in with the 5D3 and just get the 16-35 leaving some saving room to get the next lens and compact by summer. Getting the second body would mean having a really nice camera for portraits and something that does better with wide landscapes (something I struggle with currently). But then I'd ideally have both the 16-35 and the 24-70 in order for the dual camera set-up to work well. Come summer I'll have enough for all the things on my list (horse show season all spring = $$$ for me), but I'm prioritizing in the mean time.

The tripod I'm getting either way since mine broke. Recommendations for one again would be spectacular, looking to spend < $300.

Soo... suggestions?
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  • Locked
6D flash sync problem? not reporting flash to body?

ScottyP
I was shooting my 6D today at the aviary. I believe I was in TV mode. Had my Canon 320EX speedlite on. I had been shooting with the flash off but turned it on. The shutter was set at 1/400th. The ISO was, I know, still set from the last room I was in, which was dark, so it is at ISO 3200.

Anyway, the camera failed to reduce the shutter to the camera's max sync speed (1/180) like you expect it to do. As a result, the flash was clearly out of sync with the shutter.

Also, the metadata says "flash did not fire". But obviously it did fire.



Could this be a firmware glitch? Bad camera? Some obvious user error I am overlooking?

Thanks.
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600 rt set up question

D
Right now I have a 5D3 and several L glass lenses. I also have two 600 ex-rt lights with stands and umbrellas. I either need one more to control the others or the remote they made for it. The reviews on the remote were not te greatest because of the lack of low light focusing ability. I am thinking it may still work for me and it's cheaper than buying a 3rd flash. I could also decide to just get a few actual strobes, but they are so expensive and I hear you can do just as good with speedlights. Thoughts? Suggestions? I shoot events and weddings, but want to shoot models and boudoir as well.
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70-200 F4 IS + 135L or 70-200 F2.8 IS

S
Hi Everyone
Sorry if this has been beaten to death already- I am planning on expanding my range beyond 24-105 and have considered a couple options.

I have the chance to pick up a 3 yr old mint but used 70-200 F4 IS from a work colleague. I can then add a 135L and get both lenses for under 2K combined.

OR I can spend around the same $$ on the superb 70-200 F2.8 IS. however I fear the size and weight might make me not want to use it that much. It is after all double the F4 version.

Anyone had a similar debate? I do like fast primes; shoot mostly family etc.

Look forward to ready your opinions!
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ISO 50

J
I was just going through some EOS reading material and came across this regarding ISO 50 expansion ... "There will be approximately one less stop of DR in the highlights at ISO 50". So if I am reading this correctly ISO 50 is just empty night showing a "correct" exposure without any use ...

Is my understanding correct or am I missing something?
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EOS Interface/Display

Wilmark
I have been wondering why Canon in its wisdom have not come up with a better user interface over the years especially with the units that have a high res (retina quality) display on the back of the camera. All of the text is just so large and clunky, given that the user is very close to the screen. You have to spend so much time dialing and figuring out which switch or know to use in combination with what. These displays have a very high resolution that can display text far more clearly than canon uses. Many of the cameras also have a joystick to navigate (pointing device).

The interfaces today are pretty much the same since the beginning of digital cameras. They have just become more crowded and jumbled due to features. It is surely an opening for Magic Lantern to exploit.
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