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Posts Tagged ‘Canon’

Canon users are reporting front-focusing issues with the RF 70-200mm F2.8

14 Dec

Update: Canon has offered the following official response: “Canon has become aware of this phenomenon, which occurs when focusing on a close subject at 200mm,
and is preparing a firmware update that will be released as quickly as possible.”

Canon may have an issue on its hands as multiple users of its new RF 70-200mm F2.8 L IS USM lens report that it misses focus when used at the closest minimum distance. A thread on our forums as well as posts on Fred Miranda state that when used at the longer focal lengths, and with subjects at the closest focusing point, the lens focuses in front of the area under the AF point in use.

DPReview forum member pokesfan posted some tests which he says demonstrate that the lens focuses about 3cm in front of the active AF point when uses at the closest focusing distance while at the 200mm setting.

Tests carried out by users report the fault is most pronounced at the longer ends of the focal range and that it gradually reduces as the lens is brought back to the 70mm setting. More distant subjects also avoid any issues, as it seems to happen only close up.

The Canon RF 70-200mm F2.8 is said by owners to be exceptional in every other situation, but this will be something that needs attention. Forum member pokesfan says that his lens was sent to Canon to be checked and the service engineers claimed there was nothing wrong with it.

Articles: Digital Photography Review (dpreview.com)

 
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Gear of the Year 2019 – Jeff’s choice: Canon PowerShot G5 X Mark II

13 Dec
Photo: Dan Bracaglia

It goes without saying that a lot of cameras come and go through the DPReview office. Over the last year, most of them have been something you either can’t carry around for hours, or don’t want to (looking at you, Panasonic Lumix DC-S1).

One of the few actual compacts that we received (and reviewed) was the Canon PowerShot G5 X Mark II, which was announced alongside its nearly identical twin, the G7 X Mark III. The latter provides additional video features, while the former – targeted more toward enthusiasts – eschews these in exchange for an electronic viewfinder.

ISO 125 | 1/1600 sec | F4.5 | 69mm equiv.
Photo by Jeff Keller

When I first laid eyes (and hands) on the PowerShot G5 X Mark II, it was very obvious what camera Canon was going after: the Sony Cyber-shot RX100 V. They both have fast lenses with a control ring around them, a centered, pop-up flash and tilting LCDs. Even the button layouts are similar. And let’s not forget the EVF that rises at the push of the button: a feature so similar that I wonder if Sony licensed the design to Canon.

ISO 125 | 1/1000 sec | F4 | 30mm equiv.
Photo by Jeff Keller

Despite their similarities, I’d grab the Canon every time, mainly because I find the shooting experience much more engaging. The front grip and thumb rest are perfect, and the rubberized front plate prevents the camera from sliding out of my hands. I tend to adjust exposure compensation fairly often, and I like that I don’t have to move my thumb to reach the provided dial that adjusts that setting. While I like the clicky control ring around the lens, I’m still not a fan of the small, fiddly dial on the back.

ISO 125 | 1/500 sec | F8 | 120mm equiv.
Photo by Jeff Keller

And then there’s the EVF. It’s not the cool new design found on the Sony RX100 VI and above, which extends the eyepiece automatically, but I don’t mind having to manually do so. What I don’t like is that it’s very easy to press it back in when your eye is to the finder, at least with glasses on. Speaking of glasses, the OLED EVF allows me to wear my polarized sunglasses without a problem (which can be a problem with LCD panels). The location of the EVF also keeps my nose off of the screen, which is always a plus.

ISO 125 | 1/1600 sec | F4.5 | 24mm equiv.
Photo by Jeff Keller

A lot of enthusiast compacts make compromises in order to get fast maximum apertures. On the RX100 V and Panasonic LX10, the focal length tops out at around 70mm equivalent. The Sony RX100 VI and VII have very ambitious 24-200mm equiv. lenses, but they let in 1.3 stops less light than the G5 X II.

Converted from Raw using ACR 12. Exposure and sharpness adjusted.
ISO 125 | 1/100 sec | F2.8 | 108mm equiv.
Photo by Jeff Keller

For me, the G5 X II has just the right balance. The equivalent focal length of the lens is 24-120mm, which is more than enough for the kind of shooting I typically do. The max aperture range of F1.8-2.8 gives it good light low performance and nice background blur, especially on macro shots than I enjoy taking.

ISO 200 | 1/400 sec | F3.2 | 24mm equiv.
Photo by Jeff Keller

I spent several weekends with the camera, taking it over the Cascade mountains and back again (among other places), and I have no complaints about the quality of the photos I captured. A lot of people like to crow about the vibrance of Canon color, and I’m one of them. I took a number of photos in low light and was able to pull up the shadows without too large of a noise increase: at least for my needs (read: social media).

When all is said and done, I found the Canon PowerShot G5 X Mark II to be a great ‘daily driver’. It’s a camera that I can stuff into a back pocket and take for walk around town – in bright or low light – and get great results straight out of the camera.

Articles: Digital Photography Review (dpreview.com)

 
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Astronomik’s Clip-Filter system is now available for the Canon EOS R and RP

13 Dec

Astronomik has announced the release of its Clip-Filter system filters for the Canon EOS R and RP full-frame cameras. As with the company’s other Clip-Filter products, users can install the new model using their fingers, making it a simple task that can be performed quickly when needed.

Astronomik’s Clip-Filter system filters are made from laser-cut black anodized aluminum. Each filter is designed to fit within the camera body where it acts as a dust shield. Unlike with filter holders that are sandwiched between the camera body and lens, Astronomik says its Clip-Filters allow photographers to use all of the lens functions.

Additionally, the company points out that this type of filter design is cheaper than the larger filters that would otherwise be used on large camera lenses. The entire range of Clip-Filters can now be purchased for the EOS R and RP cameras in addition to the large list of other Canon camera models compatible with the filter system.

Articles: Digital Photography Review (dpreview.com)

 
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News: The Canon EOS Rs to Have 75 MP Sensor and Dual Card Slots

12 Dec

The post News: The Canon EOS Rs to Have 75 MP Sensor and Dual Card Slots appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

gear-news-canon-eos-rs

Over the past few months, rumors have abounded regarding a “professional” Canon EOS R. But recent news has given us the month of the release, making this new Canon camera more exciting than ever.

As initially reported by Canon Rumors, this Canon mirrorless snapper is about to enter the market, offering a resolution far beyond anything previously offered by Canon.

The Canon EOS Rs (as the folks at Canon Rumors are calling it) will apparently be announced in February of next year, presumably around the same time as the Canon 1D X Mark III and the Nikon D6, though it’ll be aimed at a completely different audience.

So what should we expect from Canon’s pro-level mirrorless model?

The EOS Rs will have plenty of the features you’d expect based on the EOS R, but better:

  • The latest and greatest Canon processor, the DIGIC 9.
  • A “similar” continuous shooting speed to the EOS R (which clocks in at 8 fps in One-Shot AF).
  • An improved EVF.
  • Weather sealing.

But the Canon EOS Rs is also rumored to possess a few traits that should pique the interest of quite a few professional photographers:

  • Dual card slots and a 75 MP sensor.

The dual card slots are somewhat expected, given the slew of complaints that Canon received regarding the lack of dual slots on the EOS R. But a 75 MP sensor is groundbreaking for a 35mm camera, offering a higher pixel count than either the Canon 5DS and 5DSR duo or the Sony A7R IV. It would be, in fact, the highest-resolution 35mm digital camera currently available.

Now, a camera like the EOS Rs is designed with professional photographers in mind. The huge megapixel count is required by, for instance, commercial photographers, as well as those looking to make giant landscape prints.

But while megapixel monsters are undoubtedly powerful, they come with some downsides.

The first is the price; the Canon 5DS debuted at around $ 3700 USD, and I don’t expect Canon to knock many dollars off the EOS Rs MSRP.

The second is file size. The RAW files produced by a 75 MP camera will be huge, which makes storage (both in memory cards and on computers) potentially frustrating.

And third, higher megapixel counts result in smaller pixels. This hurts high ISO performance on even the most professional of cameras, which is one of the reasons why megapixel monsters are often outperformed by other full-frame cameras in low-light scenarios, especially when images are compared at native resolutions.

What do you think about the Canon EOS Rs? Is it something you’d be interested in? What would you like to see in it?

Let me know in the comments!

The post News: The Canon EOS Rs to Have 75 MP Sensor and Dual Card Slots appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Canon RF 15-35mm F2.8L IS USM sample gallery

10 Dec

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Designed from scratch for Canon’s full-frame mirrorless system, the RF 15-35mm F2.8 is a fast, wide-angle zoom with built-in stabilization. As you’d expect from an L-series lens it’s sealed against dust and moisture, and its stabilization is rated to an impressive 5 stops. Take a look at what it can do.

See our Canon RF 15-35mm F2.8L IS USM sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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Lensrentals teardown reveals the inside of the ‘Strong like Bull’ Canon RF 70-200mm F2.8 lens

10 Dec

Image credits: Images (and excerpts) shared with kind permission from Roger and the Lensental team.


Canon’s new RF 70-200mm lens is one of the most interesting lenses we’ve come across in recent memory—so much so we deemed it a ‘modern marvel’ in our sample gallery and crowned it the ‘Zoom Lens Winner of the Year’ award.

While we’ve shared our thoughts on the image quality and overall performance of the lens, we haven’t taken too deep a look into the construction of the lens. Thankfully, Roger and his team over at Lensrentalss have done a complete teardown of the Canon RF 70-200mm F2.8 lens to show off just what Canon has put into this compact lens that’s part of the ‘holy trinity’ in the photo world.

A look at the PCB in the rear of the lens.

To start off the teardown, Roger recounts a little anecdote wherein a Canon engineer tossed a box on his workbench and pulled out a mock-up version of the RF 70-200mm F2.8 lens. Roger admits he isn’t easily impressed, but when he laid eyes on the mockup, he said his jaw dropped and the only words to leave his mouth were ‘that’s going to sell you a lot of cameras.’ Now, a good while later, a full-functioning version of the lens was sitting on his workbench once again; and this time it wasn’t leaving without going through a little operation.

Before cracking open the lens, Roger first addresses the redesigned optics of the lens, pointing out the dual focus group design and the extending lens barrel, addressing the latter by saying:

Some of you HATE extending barrel lenses. That’s cool; don’t get one. Some of you like to call them dust pumps. That’s cool, too, although it’s incorrect. (We take care of over 20,000 lenses. The most common ‘dusters’ among current lenses all happen to be primes that don’t zoom at all.)

The breathable filter (which lets in air, but keeps out dirt and dust) around the lens barrel.

From there, it’s onto the teardown, which starts with the hinged tripod ring. He notes it’s not the most robust tripod ring he’s come across, but when attached to the camera, it’s ‘quite sturdy.’ With the tripod collar off, it was onto the front of the barrel, which came off with a few external screws. Upon looking over the front ring, Roger discovered a foam sealing between the filter barrel and front element, as well as a new breathable filter, that will allow air to pass through the front of the lens without allowing particles to get in.

The front lens element was then removed with ease, which lead to the ‘reasonably large IS unit,’ which stopped the team in their tracks and lead them to turning the lens over and tearing it down from the back.

A close-up of the ‘reasonably large’ IS unit.

The rear lens mount proved fairly standard as far as Canon’s RF lenses go. It was packed tight with the PCB and ribbon cables, as well as a few springs to add the tactile feedback to Canon’s programmable ‘Control Ring.’

Eventually, Roger hit a point where the ribbon cables looked too fragile to continue, but he and Aaron persisted and eventually removed the rear lens barrel after carefully threading each ribbon cable through the maze of pieces.

A close-up of the meticulously-placed ribbon cables and sensors.

It was at this point Roger paused to ‘salute Canon’s engineers,’ saying:

The flexes are all beautifully laid out and organized, going directly to their appointed place with no wandering about allowed. Notice how all the switches just take up one small flex; there’s not a lot of electron transfer needed to signal ‘on’ or ‘off’ compared to the amount of information that IS or focusing requires.

After composing himself, he and Aaron continued to the inner workings of the lens. Specifically, he draws attention to the elements Canon uses to secure the extending lens barrel. Roger says the Canon RF 70-200mm F2.8 ‘has about the most robust extending barrel mechanism I’ve ever seen […] There aren’t the usual three cams sliding about to move this barrel, there are three pairs of them, and each is very large and robust.’

A look at the components used to secure the extending lens barrel.

Roger and Aaron eventually strip the outer barrel of the lens and dig further into the most intricate components, including both focus assemblies and the image stabilization unit. Roger notes the focus assembly (motors and optics) will likely be replaced as a whole if any component breaks, so any issue on that front will likely prove to be an expensive fix. However, he does not that he ‘doubt it’s a part that will really ever need replacing’ as the lens ‘is SLB (Strong, Like Bull) engineering, and the area is well protected.’

The aperture diaphragm inside the Canon RF 70-200mm F2.8 lens.

In all, Roger concludes that a ‘LOT’ of engineering progress has been made in the RF 70-200mm F2.8 lens compared to the likes of the Canon EF 70-200mm F2.8 lens and the Sony 70-200mm F2.8 lens. He states clearly, ‘this lens was a new design from the ground up,’ adding:

There’s no ‘that’s the way we’ve always done it’ holdovers [compared to the iterative updates of past 70-200mm lenses]. That’s a lot more work for the designers, but the result is a beautifully engineered, fully modern lens. It’s clean, functional, and straightforward.

Roger further addresses the build quality of the lens, saying:

‘It’s obviously very robustly engineered from a mechanical standpoint. The internal composites are strong as hell. There are double cams, rods, and posts everywhere. There’s no play in any moving parts. We can’t imagine there will ever be play in the moving parts unless you run over it with a truck. You could describe it as ruggedized, but I’m going to stick with Strong, Like Bull, and suggest we refer to this as the RF-SLB 70-200mm f/2.8 from now on.

In the end, Roger summarizes the teardown with six simple (paraphrased) words: ‘This is how you do it.’

To view the full teardown in all its glory, head on over to the Lensrentalss blog.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Firmware 1.4 for the Canon EOS R significantly improves eye-AF

08 Dec

Chris and Jordan test the Canon EOS R with new v1.4 firmware to see how much it improves autofocus. TL;DR – if you use eye-AF, you’ll want this update.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • The test
  • Responsiveness
  • Eye detect distances
  • Tracking accuracy
  • Conclusion

Articles: Digital Photography Review (dpreview.com)

 
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Photokina confirms Canon, Panasonic and Sony will be at 2020 expo

07 Dec

Photokina has shared a press release confirming Canon, Panasonic and Sony will be attending the 2020 expo in Japan and ensures the manufacturers ‘once again promise a fireworks display of new products at Photokina.’

The press release, titled “Photokina 2020: A Visit to the Motherland of Imaging,” comes three months after Photokina confirmed Leica, Nikon and Olympus won’t be attending the trade-show and reads as a rebuttal of sorts to remind the photography industry that Photokina is far from over, despite three main players dropping out.

The release of the press release follows a trip to Tokyo wherein delegation from the City of Cologne, Koelnmesse (the trade fair organizer responsible for Photokina) and the association of the photo industry (PIV) met with Canon executives, as well as other ambassadors and ‘high-ranking company representatives’ from Japan.

After briefly talking about the meeting in the introduction, Photokina follows with statements from Canon, Panasonic and Sony executives, which we’ve gathered below.

Canon Chief Executive Officer Image Communication Business Operations, Go Tokura, says:

As the imaging industry is at a significant turning point, we expect Photokina to be a leading show of the worldwide photo and imaging industry. Canon is eager to introduce new products and concept products at Photokina, thereby contributing to the industry’s success.

Panasonic Director of Smart Life Network Business Division, Yosuke Yamane, says:

For many years, Photokina has been the ideal platform for us to present our product innovations. The Imaging industry is facing big changes and challenges these days. In 2020, we will also be coming to Cologne with big expectations in the new Photokina format and are looking forward to contributing with great innovations.

Sony Senior General Manager of the Marketing Division at Sony Imaging Products & Solutions, Yosuke Aoki, says:

Sony is very glad to be part of Photokina again next year. Photokina 2020 gives us the opportunity to present our latest innovations and to maintain a direct dialog with all Digital Imaging Lovers. Sony is looking forward to seeing you all in Cologne.

The press release wraps up with statements from Koelnmesse President and Chief Executive Officer Gerald Böse and Chairman of the photo industry association (PIV), Kai Hillebrandt.

The press release isn’t necessarily unusual when viewed in a vacuum, as using quotes from the exhibitors to promote the expo is nothing new or out of the ordinary. But when looked at in context of Leica, Nikon and Olympus dropping out just three months ago, it does seem as though the press release and statements are a mutual pact to at least give the illusion of Photokina being no different than before, if not better.

Press release:

Photokina 2020: A visit to the motherland of imaging

The twinning arrangement between Cologne and Kyoto has been in place since 1963. It is characterised by an active exchange ranging from sports to art and culture. The economic relations are also close: the state of North Rhine-Westphalia, with Cologne as its largest metropolis, has long been one of the most important locations in Europe for Japan. More than 600 companies have settled here. Photokina is also an integral component of the good connection with Japan. A delegation of the City of Cologne, Koelnmesse and the association of the photo industry (PIV) once again strengthened this bond during a visit to Tokyo.

The Mayor of Cologne, Henriette Reker, the President and Chief Executive Officer of Koelnmesse, Gerald Böse, and the Chairman of the PIV, Kai Hillebrandt, were warmly welcomed at a celebratory reception in the German Embassy in Tokyo by Ambassador Ina Lepel and high-ranking company representatives. Also among the guests were many representatives of the Japanese imaging industry, which can look forward to a big year in 2020: the Olympic Games are taking place in Tokyo and, thanks to outstanding photo and film technology, people around the world can experience these up close. Many millions of snapshots and selfies by spectators and athletes will travel around the world in the social media. This is made possible by the achievements of imaging, the latest developments of which can be seen shortly before the start of the Olympic Games at Photokina in Cologne.

Articles: Digital Photography Review (dpreview.com)

 
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Canon releases minor 1.6.0 firmware update for its EOS R full-frame mirrorless camera

06 Dec

It’s been just over two months since firmware version 1.4.0 for the EOS R was released, but Canon is back at it again with a minor firmware update that adds support for a new lens and addresses a number of small bugs.

Firmware version 1.6.0 doesn’t bring any major autofocus changes as firmware version 1.4.0 did, but it does add support for Canon’s new RF 85mm F1.2L USM DS lens and fixes a number of issues:

  • Corrects a phenomenon in which the function or setting value assigned to the control ring may change when the control ring is operated in Eco mode.
  • Corrects a phenomenon in which the camera may stop operating properly during “auto-transfer” when using Camera Connect with a Wi-Fi connection.
  • Corrects a phenomenon in which high-speed synchronization with the use of an external flash may not operate properly depending on the camera’s setting for C.Fn2 “Set shutter speed range”.

Firmware version 1.6.0 is available to download on Canon USA’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Venus Optics adds Canon RF, Nikon Z mount options to three of its most popular lenses

04 Dec

Venus Optics has announced it’s adding Canon RF and Nikon Z variants to three of its existing Laowa lenses.

The Laowa 12mm F2.8 Zero-D, 25mm F2.8 2.5-5X Ultra Macro and 100mm F2.8 2X Ultra Macro have all been altered so they can now work on Canon and Nikon’s full-frame mirrorless systems. Aside from the mount alterations, the lenses remain unchanged from their counterparts.

You can find our previous coverage of the lenses below:

  • Laowa 12mm F2.8 Zero-D
  • Laowa 25mm F2.8 2.5-5X Ultra Macro
  • Laowa 100mm F2.8 2X Ultra Macro

The new Canon RF and Nikon Z mount versions of the Laowa 12mm F2.8 Zero-D ($ 949), 25mm F2.8 2.5-5X Ultra Macro ($ 399) and 100mm F2.8 2X Ultra Macro ($ 449) are available to purchase on the Venus Optics website.

Articles: Digital Photography Review (dpreview.com)

 
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