I just started my own photoblog. Ok, not my first, but the first I am self-hosting. After looking through hundreds of Wordpress themes, I finally came upon one which is really cool in that it changes color based upon the photo being shown. Great effects and kudos to the author!
Posted under Canon
Canon launched the EOS 300D in 2003 as the first affordable and/or entry level digital SLR. It sealed Canon’s dominance in the market. Since then, the Rebel has gone through three more iterations and the current model - the EOS 450D - offers a feature set and image quality that could only have been dreamed about five years ago (and at a price point well below the 300D’s). But photogs being the way we are, we want more at even less!
Canon’s next Rebel will be the 1000D or Rebel XS. It is made up of all the earlier versions and some call it a stripped down 450D or a ‘reheated’ 400D. What I did not expect, was the return to 10mp from the 12.2 of the 450D.
Some specs:
a 10MP sensor, 2.5 in LCD monitor, 7-point AF system and no spot-metering (like the 400D) but Live View with both phase- and contrast-detect AF, SD/SDHC for storage and a control and menu layout that is pretty much identical to the EOS 450D’s.
There is a report in from Finland that speaks to the lack of stocks of the 5D + 24-105L kit — and it seems that B&H are also out of this combination too. HmmmmHas 5D production stopped? We are anxiously awaiting the next incarnation of that marvelous 5D. (Mine was stolen and I am still fuming over it a year later!)
Canon might still be trying to incorporate EF-S lens support in their ‘low end’ FF camera…whatever that means.
Now a PDF file has surfaced mentioning a 52MP sensor. Hmmmm
“We have developed a new CMOS image sensor having pixels of more than 52M in APS-H size. The CMOS image sensor has the most number of pixels known to date without stitching. The sensitivity of the monochromatic image sensor is 39000e-/lx?s. The sensitivity of the color image sensor (green pixel) is 16600e-/lx?s. Pixel size is 3.2um x 3.2um. Random noise is 5.5e- with a saturation level of 24000e-. The CMOS image sensor has 5 x 5 random block readout mode and 4(2×2) adjacent pixels averaging mode. The reproduced image shows splendid high resolution.”
Hmmmm
Posted under Canon
From DPreview: The EOS 450D is the balance between beginner-friendly ease of use and the manual control / customization. The new stabilized 18-55mm lens is a distinct improvement on some of Canon’s earlier kit zooms and the fact it only adds $100 to the body price is a real bonus. That said, you really need to be using primes and pro-level zoom lenses to really see what the sensor is capable of. However, the default JPEG output is too bright and contrasty and the metering sometimes gets it wrong.
The Pros
* Superb resolution, good per-pixel sharpness (especially in raw files)
* Good tonal response and dynamic range
* Trademark Canon CMOS noise free images, remain detailed even at high sensitivities
* Optional high ISO NR removes all chroma noise
* Viewfinder bigger and brighter than predecessors
* New features (live view, spot metering, MyMenu, Highlight Tone Priority, 14-bit raw) lift it above the typical ‘entry level’ and move closer to 40D territory
* Improved continuous shooting, 3.5 fps and better buffering
* Feels very fast and responsive in use
* Good battery life
* Compact, sharp stabilized kit lens (though it can’t match the sensor’s superb resolving capabilities)
* ISO indication in viewfinder (finally!)
* Lots of external controls including new ISO button give instant access to commonly changed functions
* Contrast-detect focus in live view (though see cons, below)
* Bright, clear 3.0-inch screen and clear, logical menu system
The Cons
* Average automatic white balance performance, still very poor under incandescent light
* Limited exposure compensation range (+/- 2.0 EV)
* Contrast detect AF so slow it’s useless for most types of photography
* Metering has tendency to overexpose in very bright, contrasty conditions
* Default JPEG output may be a little ‘over processed’ for some tastes (raw far more flexible)
* Flash must be up for AF assist lamp (although AF is good even in low light)
* Automatic AF point selection unpredictable (use center AF, it’s safer)
* Occasional total focus failures (in our case only 5 or 6 shots in almost 2000)
* New Auto Lighting Optimizer doesn’t really seem to do anything
* No mass storage USB support
* A little pricey
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Posted under Canon
A Canon rep was overheard: The EOS-1Ds line (the full-frame pro DSLRs) is on a three-year upgrade cycle. The 1Ds Mark II came out in 2004, and the Mark III 3 years later in 2007. The EOS 5D came out in 2005 and it is now…? So, are we due for a new version? Message boards are humming but that is as far as the rumors go.
Someone on DP Review forums posted specs for a second generation 5D with the following changes: MP boost to 15.3MP up from 12.8MP, and a massive 2 stop bump in light sensitivity to 25600 ISO.
The cam will supposedly shoot at 6fps instead of 3, and will have dual Digic III processors instead of a single Digic II cpu. The AF system will use 29 points instead of 9, and it’ll have the same weather sealing as the topline 1Ds Mark III, as well as live view. The announcement is supposed to come on April 22nd, at $3500. More speculated specs:
- 15.3 MP full frame CMOS sensor (vastly improved light-gathering capacity per pixel: improved micro lenses; miniaturized micro circuitry; enhanced signal/noise ratio)
- Weather sealing same as 1Ds Mark III
- Dual Digic III with all-new “CXR” NR system reported to best 3rd party NR software. Available as a C.F with 4 levels of customizable parameters.
14 bit A/D conversion
- ISO 12800 (C.F. up to 25600)
- Reported 1 2/3 stop sensitivity improvement
- All-new 29-point TTL CMOS sensor
with 12 cross-type for F/2.8 or faster lens
(35% faster than 40D)
- Micro lens fine adjustment for up to 14 lenses
- 300,000 exposure shutter durability
- 6.0 / 3.0 fps
- 3.0″ LCD 922,000 pixels
- EOS Integrated Cleaning System
- Live View (improved from 450D; latest generation)
- 6/3 fps continuous shooting for up to 68 frames
- MSRP $3499, available June 2
The CMOS in the new camera will be an entirely new generation, not based on the current flagship or the current camera it is replacing. The CXR NR system will detail retention at 12800 similar to 3200 on current model, though a 1 2/3 stop improvement is the conservative, stated estimate. Canon hopes to create a “wow” factor with a conservative estimate that surpasses itself in studio/ pro review tests.
Posted under Canon, dSLRMore MP
The first DSLR sensor made by Samsung is the 14.6MP CMOS chip. This gives the GX-20 and the Pentax K20D the highest-resolution imaging in this class. The Pentax K200D gets the Sony-made 10.2MP CCD from the now-discontinued K10D. The Sony uses its own 14.2MP CCD in the Alpha 350, and Canon its own 12.2MP CMOS chip in the Rebel XSi. (Canon once again makes a Rebel that leapfrogs its enthusiast model in resolution — the EOS 40D is 10.1MP.) Nikon coasts along with the same 10.2MP chip from the D40x. All five cameras maintain the APS-C sensor size for a 1.6X 35mm lens factor for the Canon and 1.5X for all the others.
Live Preview
Like it or not, DSLR makers continue to use it and refine it. The Rebel allows two methods of autofocusing in live view: a quick method using a momentary flip down of the mirror (with face detection used to engage appropriate AF points), and a live method that can be enabled at any spot in the frame. This actually improves on the Reb’s pricey stablemates such the EOS-1Ds Mark III (see camera test), which focus only manually in live view. The Samsung GX-20 can also autofocus with a mirror flip.
But the best live view system so far comes on the Sony, which uses a separate imaging sensor in the pentamirror housing to allow autofocusing with live view — and nearly zero lag when you press the shutter to take the shot. You can even do burst shooting in live mode at a creditable 2 fps. Combined with the LCD that tilts up or down, it gives you a perfect setup for low-angle or over-the-crowd shots.
Image stabilization
Everyone wants it and why not? It gives you a bit more versatility, but which system is better - the one in-camera or in specific lenses? Canon and Nikon don’t have stabilization built into their cameras, but require individual stabilized lenses. And now manufacturers have priced camera/lens kits low enough that there is no short-term price advantage for the other three cameras that have sensor-based image stabilization built into the camera bodies.
But those three cameras — the Pentax K200D, Samsung GX-20, and Sony Alpha 350 — can stabilize any lenses you already have in your bag or may obtain down the line, which can save a fair stack of cash compared with putting together an outfit of Canon or Nikon image-stabilized lenses. In response, their rivals have been developing lower-cost stabilized lenses, such as the 55-250mm f/4-5.6 Canon EF IS ($300, street) and the 55-200mm f/4-5.6G AF-S DX Nikkor VR ($170, street).
Too Many
Canon EOS 40D, Nikon D300, and Sony Alpha 700 — and camera makers are not stopping with those. Nearly every DSLR maker has recently added one or more models to this year’s lineup, all of them aimed at the mid-level. For street prices of $630 to $1,400, they provide a nice boost in megapixels, with two models coming in at more than 14MP. But they aren’t about sheer firepower — don’t look for the fastest burst rates or stratospheric ISOs. Instead, you’ll find such conveniences as bigger LCD screens, live view, more battery power, extended in-camera image controls, and improved image stabilization.
No sooner do you have your setup complete (at least for the moment) and another model beckons so strongly that you cannot resist!
Improvements
Sony began the trend with its Dynamic Range Optimizer (DRO), which can calm down highlights and bring up shadows on the fly. Nikon’s Active D-Lighting, Pentax’s Expanded Dynamic Range, and Samsung’s High Dynamic Range do similar duty. The Canon Rebel XSi has Highlight Tone Priority, which will maintain detail in an exposure level selected by the user.
The Nikon D60 can convert RAW files to JPEGs with image corrections, remove redeye, add a cross filter, and even assemble stop-action movies from individual frames. The Pentax and Samsung have an assortment of digital filters and extensive picture adjustments. The Sony A350 inherits the menu of eight scene selection modes, each one of which can be individually tweaked.
And the Canon Rebel debuts a new tool, Auto Optimization, which can improve brightness and contrast on the fly (something like Auto Levels in Adobe Photoshop) and which gives priority to faces in the frame — to bring up detail in backlit portraits, for example.
Sensor dust has become Enemy #1 and DSLR manufacturers are recognizing that with more megapixels, shooters will view or print pictures at larger sizes — and will be all the more aware of dust spots on the sensor. All five of these cameras provide a momentary ultrasonic shake of the sensor to remove dust, but the precautions hardly stop there.
The Nikon simultaneously provides a momentary puff of air — something like a built-in bulb blower — and can map dust particles for removal later in software. The Canon also has software dust mapping. The Pentax and Samsung models highlight dust particles on the LCD — and display the map as a mirror image to facilitate manual cleaning of the sensor.
Should You Buy?
Fierce competition once again proves a good thing, with four of these five models coming in well under $1,000 with a kit lens. Stay tuned for more info on the latest and greatest offerings.
[PopPhoto]
Hardly distinguishable from its G7 predecessor in looks, the new 12.1 megapixel Canon PowerShot G9 sports the same optically stabilized 35-210 f/2.8-4.8 6x zoom lens (35mm equivalent), same hotshoe, similar optical viewfinder, slightly bigger 3-inch wide view LCD, but pretty close to identical all around.
The differences are all inside. RAW is back along with an interesting new “Adaptive Noise Control” function in the ZoomBrowser.
The Pros:
• Face detection, including tracking, AutoExposure, and FlashExposure settings.
• Focus-confirm playback enlarges the area of focus for instant confirmation that a shot is acceptably sharp — linked to Face Detect — up to 10x.
• Panning Image Stabilization mode.
• RAW, and the Adaptive Noise Control command in ZoomBrowser/ImageBrowser.
• Bigger, higher-resolution LCD
The Cons:
• Barrel distortion is still a big problem at the 35mm wide angle setting.
• A slow burst rate, especially in RAW.
• Confusing menu-driven options and multi-button/dial configurations.
• Lens barrel intrusion into the optical viewfinder field at wide-angle.
• Only about 80% coverage with optical viewfinder.
Still, it is a great-looking advanced compact camera, with full manual controls and RAW capture that can sync with Canon EX-series hotshoes at 1/250 second (normal sync) plus high-speed sync up to 1/2500 second. It can also shoot in 16:9 aspect ratio, and capture video at up to 640 x 480 px at 30fps or 1024 x 768 px @15fps. The microphone also has a digital wind filter function for outdoor shoots. Oh, and it’s not just a still and compact video camera — the G9 can also be used as a digital audio recorder — for two straight hours at three sampling rates, 11.025kHz, 22.050kHz and 44.100kHz.
Image Quality has greatly improved over the G7, so much so, that forget the sales on the older model - get the G9.
Posted under Canon, Point&ShootThis firmware update (Version 1.0.5) incorporates the following improvements and fixes.
The Version 1.0.5 firmware being released this time is for cameras with firmware up to Version 1.0.4. If the camera’s firmware is already Version 1.0.5, it is not necessary to update the firmware.
Posted under Canon, cameras
Lens Construction (groups) — 10
Lens Construction (elements) — 13 [3 aspheric elements - 1 Super UD element]
No. of Diaphragm Blades — 6
Minimum Aperture — 22-27 (1/3-stop increments 22-29)
Closest Focusing Distance — 0.24m [9.5"] at all focal lengths
Maximum Magnification — 0.17x at 22mm setting
Filter Diameter — 77mm (thin polarizer required for 10mm use)
Maximum Diameter x Length — 83.5mm x 89.8mm [3.3" x 3.5"]
Weight — 385g [13.5oz]
The Canon EF-S 10-22/3.5-4.5 USM is Canon’s widest lens for Digital SLRs. It is equivalent (on a 1.6x sensor) as a 16-35 zoom has on a full frame 35mm camera. The 10-22 works only on APS-C sized bodies; it will not work on full frame cameras such as the 5D.
Construction is excellent with a good and solid feel to it. Focus is very fast using Canon’s ring-type USM motor, which also allows full time manual focusing without having to switch from “autofocus” to “manual” mode. The lens does not change length when zoomed and the filter mount does not rotate, facilitating the use of a polarizer.
There is very little noticeable vignetting at any focal length or aperture, which for a superwide lens is excellent performance.
BUY now at Adorama // SHOP B&H Video
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Posted under Canon, Lenses
Features
Lens construction: 12 elements in 9 groups
Diagonal angle of view: 104° -57°
Focus adjustment: Inner focusing system with USM
Closest focusing distance: 28cm
Zoom system: Rotating type
Filter size: 77mm
Weight : 500g, 1.1 lbs
The Canon 17-40L is a high quality, moderately-priced ultra wide angle zoom lens. It is the lightest L lens currently made (1.1 lbs / 475g) and is the smallest L zoom lens currently produced (3.3″ x 3.8″ / 83.5mm x 96.8mm). Having that L designation means it is of the highest quality and offers weather-resistant construction, and can be used on full frame as well as cropped sensor cameras.
This lens focuses as close as 11 inches (0.28m), and offers both Canon’s full-time manual focus and a powerful ring-type USM for fast and silent AF. It has a constant f/4 maximum aperture, and offers the choice of screw-in 77mm filters or a holder in the rear of the lens for up to three gel filters.
It resists flare very well. Colors and contrast are very good, but expect some CA (chromatic aberration) in the full frame corners below 24mm. A 7-blade circular aperture delivers excellent OOF (out of focus) blur quality, AKA “bokeh.”
The focal length multiplier inherent with today’s crop of D-SLRs is pushing people to ultra wide angle lenses for normal wide angle use. The 17-40 is about as good as it gets for wide angle photography. Many people could settle for a prime lens for their wide angle needs, but I have not discovered any primes that are better in the 17mm or less focal length.
Although not as fast as the Canon 16-35L F2.8, the Canon 17-40 lens is generally regarded as a comparable lens in terms of image quality. The biggest difference between them being price, the Canon 17-40L lens is much less expensive at almost half the price.
BUY at Adorama // SHOP B&H Video
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Posted under Canon, LensesCanon UK has apparently informed dealers that it has temporarily stopped shipments of its EOS-1D Mark III and is asking that unsold units be returned pending an official announcement due over the next few days.
It seems to be an issue concerning the camera’s sub-mirror and it is not only in the UK. Canon USA’s customer care center is advising EOS-1D Mark III owners who call in that a fix for the camera’s AI Servo autofocus problems is approximately two weeks away, that it will involve replacing the sub-mirror (a mirror behind the main reflex mirror that passes light to the autofocus sensor module) and that customer care reps are taking down contact information from those customers who would like to be notified when the fix is available.
Chuck Westfall, Canon USA’s Director of Media and Customer Relationship, did confirm that a fix was coming for secondary mirror in affected cameras. The secondary, or ’sub-mirror’ focuses light coming through the lens onto the AF sensor beneath the main reflex mirror. Apparently, although Canon has not identified a problem with the mirror itself, the components that make up the sub-mirror mechanism in some cameras may need to be adjusted or replaced.
Speaking to AP, a spokesperson within Canon Europe indicated that a ‘potential source of problems with AF performance’ had been identified in the secondary AF mirror, which can cause ‘unstable focus prediction with moving subjects in Ai-Servo AF mode’. Apparently, this problem becomes more acute in ‘higher than normal temperatures’, which might suggest that thermal expansion of certain key components within the mirror assembly is a contributing factor.
Apparently, only a limited number of 1D Mark IIIs within a particular production range are affected, and Canon is planning to announce a simple way of determining whether or not an individual camera needs the fix. An official announcement, and details of how to determine whether individual cameras are at fault, is expected within the few days.
Posted under Canon
They are finally here - rebates on 15 lenses, ranging from $125 to $20, plus a $50 rebate on the 580EX II Speedlite. And different from previous rebate programs, these are in the form of “instant rebates” so there are no forms and bits of paper to send in. The promotion runs from October 18th 2007 to January 13th 2008.
Qualifying Products:
• EF 70-200/2.8 L IS USM — $125
• EF 100-400/4-5.6L IS USM — $100
• EF 16-35/2.8L USM — $100
• EF 85/1.2L II USM — $125
• EF 50/1.2L USM — $100
• EF 70-200/4L IS USM — $75
• EF 24-70/2.8L USM — $80
• EF 70-200/4L USM — $40
• EF-S 17-55/2.8L IS USM — $70
• EF-S 10-22/3.5-4.5 USM — $50
• EF 17-40L USM — $50
• EF 100.2.8 macro USM — $35
• EF 85/1.8 USM — $25
• EF 50/1.4 ISM — $20
• EF-S 60/2.8 Macro USM — $30
• 580EX II Speedlite — $50
LAKE SUCCESS, N.Y., October 15, 2007 – Canon U.S.A., Inc., a leader in digital imaging, today announced the development of two all-new telephoto lenses for use with its EOS SLR cameras: the EF200mm f/2L IS USM and the EF800mm f/5.6L IS USM. The Company will exhibit prototypes of the new lenses at PhotoPlus Expo (booth #318), taking place at the Jacob K. Javits Convention Center in New York City, October 18 to 20.
The new Canon EF200mm f/2L IS USM and EF800mm f/5.6L IS USM, both of which are L (luxury)-series lenses incorporating a high-performance Image Stabilizer, feature optical systems utilizing special optical materials such as fluorite to correct chromatic aberrations, making possible high-resolution, high-contrast shooting performance.
The Canon EF200mm f/2L IS USM, targeting users who seek a brighter lens for portraiture and indoor sports photography, realizes a large aperture of f/2. The EF800mm f/5.6L IS USM, expected to deliver telephoto performance surpassing the current top-of-the-line EF600mm f/4L IS USM super telephoto lens, is being developed in response to requests from users working in the fields of sports and news photography who are looking for a high-performance lens that offers a longer focal length.
“These new lenses demonstrate that Canon is continuing to respond actively and flexibly to the wide-ranging needs of professional and advanced amateur users, with the aim of contributing to the expansion of photographic possibilities for SLR cameras,” said Yuichi Ishizuka, senior vice president and general manager, Consumer Imaging Group, Canon U.S.A. “Canon’s EOS System is the premier brand of Digital SLR cameras, and we take great pride in offering the world’s largest selection of interchangeable autofocus lenses.”
As these new lenses are currently under development, pricing and availability information is not yet available.
[source: press release]
-Construction 6 groups / 7 elements / 8 aperture blades
-Angle of view 46°
-F stop range 1.4-22
-Closest Focusing Distance 0.45m / 1.5 ft.
-Maximum Magnification 1:6.66
-Filter Size 58mm
-Dimensions (Length x Diameter) 2.9″ x 2.0″ / 73.8 x 50.5mm
-Weight 10.2 oz. / 290g
Introduced in June 1993, this lens was the mid-range between the EF 50mm f/1.0 USM L and the cheap EF 50mm f/1.8. On an APS-C sensors, the FOV (field-of-view) resembles a 80mm full-frame equivalent.
features a micro-USM AF drive including full-time manual (FTM) override in one-shot AF mode. This is, I think, a quite unique combination. FTM is usually possible with a ring-type USM drives only. The AF operation is quite fast and silent but a little worse than ring-type USM lenses (such as e.g. the 85mm f/1.8 USM). Manual focusing feels pretty smooth and the broad, rubberized control ring adds to the positive impression here. The overall build quality is very decent with a metal mount and an outer barrel made of good quality plastics.
The EF 50mm f/1.4 USM showed an almost flawless performance during the lab- and field-tests both in terms of optical and mechanical quality. Of course, there is slight vignetting at full open, Stop down to eliminate the problem (from f/2.8 & up it’s a non-issue).
see 50mm 1.8 / 1.4 comparisons
Posted under Canon, Lenses
Construction 5 groups / 6 elements
Angle of view 46°
F stop range 1.8-22
Closest Focusing Distance 0.45m / 1.5 ft.
Maximum Magnification 1:6.66
Filter Size 52mm
Dimensions (Length x Diameter) 2.7″ x 1.6″ / 68.2 x 41.0mm
Weight 4.6 oz. / 130g
The Canon EF 50mm f/1.8 II Lens delivers very sharp images as inexpensively as Canon lenses get - but at the price of nice bokeh.
Build quality of the 50 f/1.8 is insexpensive (ok, cheap) with its plastic construction, even the lens mount! The glass is good though and this lightweight construction makes it a perfect lens to take everywhere.
Autofocus is driven by a micro motor and performs well in good light, albeit noisily. Don’t try to sneak up on something with this one 
The Canon EF 50mm f/1.8 II Lens’ strongest quality is its sharpness. Sharpness performance wide open (f/1.8) is decent, but the Canon 50 f/1.8 is very sharp at f/2.8 and beyond. And it is fast with its max aperture of 1.8. The bokeh problem comes in because of its five non-rounded aperture blades.
But for $75 new, it is a bargain. BUY at Adorama
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Posted under Canon, Lenses
With that little”L” in the designation, you know it is pricey, but here is what you get:
Ideal for low light shooting - great for indoors using available light – a typical requirement of photojournalists and wedding photographers not wishing to disturb or influence a scene with flash. With fast auto focus, the capacity for glorious bokeh, it is a perfect lens for portraiture or even flowers in the wild.
The L-series, as photogs know, represent the top of Canon’s lens line and offer weather resistance with seals and gaskets and a lens mount O-ring prevent the ingress of dust and moisture. The large aspherical lens element with precise variable curvature is incorporated into the 8 lens, 6 group construction. The aspheric element ensures high sharpness and contrast throughout the focus and aperture range.
In addition to optimized lens shapings to reduce reflections and the use of anti-reflective material inside the lens barrel, the EF 50mm f/1.2L USM employs Canon’s patented Super Spectra lens element coatings. These suppress flare and ghosting – more prone to occur with digital cameras due to reflection off the image sensor. By increasing light absorption, coatings reduce reflections off lens element surfaces to deliver crisp, undistorted images with natural color balance.
The EF 50mm f/1.2L USM transmits distance information to the E-TTL II flash system of all current model digital EOS cameras, improving flash exposure metering when used in conjunction with Canon’s range of EX Speedlite flash units.
The EF 50mm f/1.2L USM comes with a cylindrical lens hood and lens pouch.
In keeping with Canon’s Kyosei philosophy of living in harmony with the environment, the lens features only lead-free glass.
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Posted under Canon, Lenses
Angle of view (horizontal, vertical, diagonal) - 16º, 24º, 28º 30′
Lens construction (elements/groups) - 8/7
No. of diaphragm blades - 8
Minimum aperture - 16
Closest focussing distance (m) - 0.95
Maximum magnification (x) - 0.11
Distance information - Yes
Image stabilizer - No
AF actuator - Ring USM²
Filter diameter (mm) - 72
Max. diameter x length (mm) - 91.5 x 84.0
Weight (g) - 1025
Magnification with Extension Tube EF12 II - 0.25-.015
Magnification with Extension Tube EF25 II - 0.42-0.33
Lens hood - ES-79 II
Soft case - LP1219
TeleExtenders EF1.4x II and EF2x II - Not compatible
The f/1.2 aperture is the widest in Canon’s current range and makes it possible to shoot in low light without a flash or slow shutter speeds. The USM holds the lens with precision and accuracy, the instant it arrives at the correct focus and without overshoot, and features full-time electronic manual focus override*. Super-fine control over depth of field afforded by the lens’ large aperture allows sports photographers to deliberately ‘blur out’ crowds, hoardings and other distracting backgrounds.
The L-series is Canon’s flagship professional lens range, designed and built to meet the needs of the most demanding professional photographers. The superb optics of the EF 85mm f/1.2 II USM and other L-series lenses represent the pinnacle of optical performance, enabling focal length/speed/quality combinations not readily attainable using traditional optical technologies.
Portrait photography: The combination of an almost circular aperture diaphragm for attractive bokeh (evenly graduated blurring of out-of-focus areas) and the extremely narrow depth of field at its widest aperture combine to make this an ideal portraiture and studio lens. With the lens’ aperture at f/1.2, photographers can create dramatic effects such as keeping a model’s eye sharp while blurring the eye lash ends. [dpreview]
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Posted under Canon, LensesThe EOS 20th Anniversary Cash Back Promotion has begun in Europe — on EOS 400D, EOS 40D, EOS 5D and selected lenses and accessories from Sep 1 to Dec 31. Can we expect something similar here in the US? See http://canon2007promotions.onlinerebates.com/ for specific details for each country.
Cashback offers and amounts
EOS 400D body – € 70
EOS 40D body – € 70
EOS 5D body €200
EF 70-200mm f/2.8L IS USM – €200
EF 70-200mm f/4L IS USM – €150
EF 70-200mm f/2.8L USM – €150
EF 24-70mm f/2.8L USM – €140
EF 85mm f/1.2L II USM – €100
EF 100-400mm f/4.5-5.6 L IS USM – €100
EF 17-40mm f/4L USM – €100
EF 70-200mm f/4L USM – €100
EF-S 10-22mm f/3.5-4.5 USM – € 80
EF 50mm f/1.2L USM – € 70
EF-S 17-55mm f/2.8 IS USM – € 60
EF 70-300mm f/4-5.6 IS USM – € 60
Speedlite 580EX II – € 50
EF 24-105mm f/4L IS USM – € 50
EF 100mm f/2.8 Macro USM – € 30
Macro Ring Lite MR-14EX – € 30
EF-S 60mm f/2.8 Macro USM – € 20
EF-S 17-85mm f/4-5.6 IS USM – € 30
EF-A Standard Focusing Screen (EOS 40D) – € 8
EF-D Grid Precision Focusing Screen(EOS40D) – € 8
EF-S Manual Precision Focusing Screen(EOS 40D) – € 8
Canon Canada’s Rebate Program is located in this PDF file.
The question remains as to where the USA Rebate Program is.
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Posted under Canon, site news
| Focal Length & Maximum Aperture | 70-200mm 1:2.8 |
| Lens Construction | 23 elements in 18 groups |
| Diagonal Angle of View | 34° - 12° |
| Focus Adjustment | Inner focusing system with USM |
| Closest Focusing Distance | 1.3m / 4.3 ft. |
| Zoom System | Rotating Type |
| Filter Size | 77mm |
| Max. Diameter x Length, Weight | 3.4″ x 7.8″, 3.24 lbs. / 86.2mm x 197mm, 1470g |
This is the workhorse in the Canon stable. Dependable and producing quality images, it now incorporates Canon’s second generation Image Stabilization technology. It responds in as little at 0.5 seconds, while providing up to three stops of correction for camera shake. Its AF system has been refined for better response time and tracking speed. And even the new 8-blade circular aperture offers a more pleasing out-of-focus image. Constructed to pro standards, this fast zoom is also highly resistant to dust and moisture, too.
I had this lens and it was the best I have ever used. Add a converter and extend your reach!
BUY now at Adorama (used lenses also available at a reduced cost)
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Posted under Canon, Lenses
| Construction | 15 groups /20 elements One Fluorite element & two UD (ultra low dispersion) elements |
| Angle of view | Diagonal: 34?- 12? (with full-frame cameras) |
| Closest Focusing Distance | 3.94 ft. / 1.2m |
| Filter Size | 67mm |
| Dimensions (Length x Diameter) | 3.0″ x 6.8″ / 76mm x 172mm |
| Weight | 26.8 oz./760g (lens only) |
| Notes | Focus Adjustment: AF with full-time manual |
The EF 70-200mm f/4L IS USM is a lightweight, compact L Series telephoto zoom lens with Image Stabilizer. The optical Image Stabilization in the new EF 70-200mm f/4L IS USM lens provides up to an incredible four stops of shake correction. The use of fluorite UD lens elements provides excellent optical performance in terms of resolution and contrast. These features, together with its water-and dust-proof construction, provide both the performance and portability to meet user demands.
This one is the same size as the EF70-200mm f/4L USM lens - but far more desireable because it has the IS - Image Stablization. Unless you enjoy dragging your tripod around and setting up for every shot, you want and need IS!
A great alternative to the heavier and costlier 70-200 f2.8L IS USM ($600 cheaper)
BUY now at Adorama - comes with 67mm Front Lens Cap, Rear Lens Cap, ET-74 Lens Hood, Lens Case, Canon 1 Year Warranty.
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Posted under Canon, Lenses