70D lenses

Hey fellow photo people! I'm on the hunt for a nice but non-expensive everyday lens that will allow me to take pictures of my active 1yr old, indoor events, outdoor adventures, candids and family portraits. A second lens to give me that "bokeh" effect that I love shooting and the 3rd lens to have some fun with, like the fisheye effect.

Hi,
1.)  I was not saying the kit lens can do bokeh.  I was saying once you have the kit lens in your bag to cover all those focal lengths between 15 and 85 (or whatever), then you can get a wide aperture prime like a 50 f/1.4 and it will do your bokeh, as well as work pretty well as an everyday general-purpose "walk around" lens too.  
2.)  Spend money on lenses, not on camera bodies.  At least at first, until you build up a nice little collection of 2-4 good lenses.  They come out with a new Rebel camera body every year, and a new 70d level camera body every few years.  But the lenses are only replaced with new versions every decade or two.  Lots of the lenses still current in the Canon lineup are about 20 years old.  The lens makes a bigger difference in the quality of the photo than the camera body does.  
I don't know how much you are looking to spend, but if getting a less expensive T5i camera instead of a 70d would allow you to purchase a better lens, I would do that in a heartbeat.
The kit lenses will be just fine in good light, so something like the 15-85 will take a lot of great pictures for you.  You can even make it give you some bokeh if you set up the shot right.  Zoom in to the longest focal length, select the widest aperture (the lowest "f/ number) that the kit lens will give you, stand as close to the subject as possible, and position your subject so that the background is as far behind the subject as possible.  
But for when you want a lot of bokeh, or when you want to shoot indoors in a room that isn't especially bright, you will benefit from a lens like the Canon EF 50mm f/1.4.  
If you got a kit lens, and a 50mm prime, that would be more than enough to be off to a very very good start.  Better than probably 90% of people start with.  I would not try to cram any special effects lenses in at first.  Learn how to shoot, learn what you like to shoot, then consider what you want for a 3rd lens.
Scott
Canon 6D, Canon T3i, EF 70-200mm L f/2.8 IS mk2; EF 24-105 f/4 L; EF-S 17-55mm f/2.8 IS; EF 85mm f/1.8; Sigma 35mm f/1.4 "Art"; EF 1.4x extender mk. 3; 3x Phottix Mitros+ speedlites
Why do so many people say "fer-tographer"? Do they take "fertographs"?

Similar Messages

  • Lenses for the new EOS 70D

    Good afternoon, How do I know which lenses "fit" the body of the new EOS 70D?  I also own the EOS Rebel T2i and those lenses do not fit the 70D body.  Thank you....frustrated.
    Solved!
    Go to Solution.

    The 70d is a cropped sensor, so any EF or EF-S lenses will fit.  Your Rebel lenses will fit.  The only modern Canon lenses that won't fit either of those cameras are the new mirrorless lenses EF-M.

  • Upgrading to FF, need to upgrade the glass too... 5D mkiii and 1 lens, or 6D and 2 lenses?

    I've been shooting for several years now, and my trusty 40D has been in dire need of an upgrade. I have had some good paying jobs in the last few months and I have some cash to play with. I've just been beating my head against the wall trying to figure out the best course of action.
    I recognize that style determines one's needs, but my needs change. Sometimes it's portrait, studio/location... sometimes it's event, action... sometimes low light and long exposure. Increasingly, paid video is becoming part of my workflow.
    I waited to see what the 70D would offer, I was impressed with the new AF system, fps, ISO performance, as well as the usefulness of the flip screen/wifi (more than I thought I would have been). The problem is that it's still a crop sensor, and still on the lower end of the "prosumer" line. I try not to let my ego get in the way too much, as I know that an expensive camera doesn't always make for a good photographer. However, after shooting the xxD line for many years (since the 10D), I would like to move up, and I don't know that I have the patience to wait for the 7D mkii.
    I started looking at the 6D as the entry full frame option. The price is right, and if you put it together right, you can get the body and a good kit lens for around $2200. The limitations, as far as I can tell, would be AF system (number of points, and virtual lack of cross-type), fps, build quality, lack of headphone jack, single card slot, sync speeds, etc. If you are familiar with this camera, you are familiar with its functional shortcomings, especially when compared to the Nikon counterpart, the D600. However, I have to respect this camera in its sheer photo taking power, and that in some cases it carries better sensor ratings than the 5Dmkiii. The end result will be as good, if not better than the 5Dmkiii, so long as you are able to get the subject in focus and in frame due to the bogus AF system/fps rating. Seemingly, this camera will not do a lot of the work for you, not as much as it's big brother will, anyway.
    I had the opportunity to shoot with a 5D mkiii, and I was blown away with every aspect of its layout and functionality. The AF system was stellar, the ISO performance was amazing, the IQ was well beyond anything I am used to. I was also able to use a full stable of L glass along with it, as well, so I could really express the potential of the camera. Every shot I got was in focus. The grouping options worked flawlessly, and I didn't have to focus/recompose as I have gotten so accustomed to. On the video side, I like the headphone jack and greater resistance to moire (supposedly). It felt solid in my hand, fit perfectly, and wasn't too heavy to carry around a 12 hour corporate gig (even with a broken finger). Was pretty stoked on it.
    All of this being said, I need to upgrade the body. This much is clear. The limitation is that my lenses aren't up to par. Half of them are EF-S, and the EF lenses I have aren't much worth mentioning (28-135mm IS, 50mm f2.5 compact macro). The big question is, do I spend the money on the 5D for the greatly advanced features and functionality, and suck it up on the lenses for a while? Maybe just get the 24-105 and use that for basically everything? Or should I get the lesser 6D, and play with some classic lens options like the 16-35mm, 24-70mm, 70-200mm, etc? After all, the focus system wont matter if I don't have the lens to capture it anyway.
    What is the better option?
    1. Buy the more functional (expensive) body and maybe one lens to start.
    2. Buy the less functional (cheaper) but equally IQ rated body and a few lenses, or other pro-business expenses?
    Common knowledge seems to state that you invest in glass first.
    In the past, I have felt limited by my camera's ability to keep up with low light and focus issues. I don't want to voluntarily step into an inferior system.  Conversely, I don't want to get saddled with a pricey body and no glass to use with it.  Are the technology gains in the 5D mkiii worth it if my budget is limited?
    Just wondering if anyone has any insight to this dilemma?

    Hi jadphoto, thanks for getting back.  I shot film for many years as well.  It gave me a really good foundation for making sure that you do everything as right as possible before hitting the shutter.  Making the change to digital was certainly revolutionary in the way that I was able to approach photography (cost, learning curve, instant gratification).  I was hoping that the move from crop to FF would be liberating and vision-changing, as well. 
    Not needing a tripod as often would be awesome.  I do some long exposure stuff that will always require it, but I would like to be able to get some sharp, clean, hand-held images when I don't feel like lugging it around.  I was at a music festival recently, and basically all of my night shots were hand-held, or taken with the camera resting on something.  A lot of the shots were unusable because of blur or noise.  The lighting in those scenarios can be tough, and I've read that the 6D and 5D can basically focus in the dark.  Not needing external flash and a tripod would be great.  On the 40D, I don't like to push the ISO above 1250 (defintely the extreme end for that camera, in my opinion).
    I was looking at the 24-70 2.8, or the 24-105 4 IS in that range.  The 24-70 has a lot of clout, and I like the lens.  I really like the bokeh/DOF of a 2.8.  However, the 24-105 has a little more reach, and the IS which is nice.  So I don't know that I would want to do double duty in that range, and like everything else, they seem to spread the awesome features around a bit.  I have really enjoyed the 28-135 over the years.  It has a solid build, really good optical results, but it can be a bit long on a crop sensor, so it gets limited indoor use.  I also recently dropped it from about chest high onto the street... while attached to the body... lens down (first time I've ever done something like that).  It slipped out of the tri-pod collar which was not fully secured.  The filter shattered, and I had to convince the barrel to go back into position so it would zoom properly, but everything alse still works fine.  Still sharp with fast AF.  Pretty incredible.  The 50 compact macro can be a lot of fun for still-life/detail/nature stuff, but I rarely take it out for portrait because the AF is loud and slow, and the results are not always spot-on.  Could be user error.  I might need to keep trying it out, but it doesn't get a lot of love in the paid portrait department.  My 50 1.8 had a cheap build too, but would take some pretty awesome photos (sometimes). 
    I figured the rest of the kit would make sense once I settled on a mid-range.  I have an 11-18 EF-S that I would have to find a replacement for.  The 24mm on a FF was impressively wide, and might require less immediate attention.  Makes me realize the tunnel vision effect of the crop (good when you want it for reach)...  With that being said the 70, 105, and even 135 might need some help reaching on the FF.... and I've always wanted a fancy, beige/white 70-200.  I just don't know what would get the most use yet.  I was able to use a 70-200 2.8, and I loved the cross-room candids I could get when I wasn't all up on people.  A lot of time, they didn't know I was shooting them.  It's just a beast, though.  It's big, and not too discreet, which can serve the ego but can get you in trouble too.  I can imagine that it is a great tool to have when you need it.

  • A video camera that looks as good as the EOS 5DIII & the new 70D

    Hi everyone.  I really want to make myself clear on my questions, so I'm going to preface them with a short wall of text.  My apologies.  
    I work for local government and we film political meetings, PSA's, informational videos, documentaries, and local government events (groundbreakings, ribbon cuttings, roundtables, etc).  We are still entirely standard definition.  For the past 7-9 years we've only used Canon XL1's and XL2's, but in the last 2 years we've gone tapeless.  
    For our first foray into this, we first bought  JVC GY-HM150U's (http://www.bhphotovideo.com/c/product/821133-REG/JVC_GY_HM150U_GY_HM150U_ProHD_Handheld_Memory.html).  Our main desires here were:  small, universal file type (we use several different editing systems), a "super full auto mode" for our non-advanced users, XLR inputs for microphones, relatively inexpensive, and SD or CF card slots.  Obviously, we nailed all of these features with this camera, but the video quality is lower than we could've expected.  
    At the same time, we purchased a Canon EOS 5D Mark III for taking still pictures during events.  Then, to our ultimate downfall, we started using it for interviews and documentary type shoots.  I'm sure I don't need to tell you all the shock we were in for when it came to the amazing picture quality of this camera.  To take these two cameras on a shoot together is pointless as the JVC's could not even come close to the quality of the Canon's.  However, we cannot use the 5D as a primary camera during these shoots for several reasons (which I'll point out below).  We began following the development of the new EOS 70D with interest when we found out it woud fix some of these features.  Coincidentally, another department of ours purchased one and we were able to use it for a few shoots.  It does seem to have as good a picture quality as the 5D, but it still lacks some features we need.  
    So, in preparing next years budget, I'm looking for actual video cameras with the amazing picture quality of the 5DIII and the 70D, but doens't have the limitations of a still photography camera.  Any help would be appreciated.
    Problems with the 5DIII as a primary video camera:
    no follow focus, only records for 30 minutes segments, only 3.5mm audio input (need XLR)
    Problems with 70D as a primary video camera:
    no headphone output, can't adjust audio input levels while recording, still only records 30 minute segments, 3.5mm audio input
    I'm an Audio / Video technician and video editor.  I do a lot of filming, but do not know much of the science and technology behind the inner working of the cameras.  As an example of our programs, below are two things I filmed with the EOS 5DIII.
    Thank you all in advance for any help you can provide.  
    JP
    http://cppjvideo.pegcentral.com/player.php?video=b2a30e6d03dcf1b655814c4c59d78f2a
    http://cppjvideo.pegcentral.com/player.php?video=c2144ed57f8c34ce3cec7571b37b9ec1

    I'm not a video guy.  Canon lists their Cinema EOS video cameras on a separate section than they use for their EOS cameras.
    The cinema cameras and their specs can be found here:  http://www.usa.canon.com/cusa/professional/products/professional_cameras/cinema_eos_cameras
    Based on specs, I'm thinking you would probably be well-served by the C100.  It takes the same EOS EF lenses as your 5D III so you can get the look you want.  It records in AVCHD with MPEG-4 AVC/H.264 -- which is fairly common.
    The cards are formatted FAT32 although it says it can record continuously for up to 12 hours.  I'm not sure how it pulls this off because no single file on a FAT32 filesystem which constrains individual files to a maximum of 2GB (that's a filesystem limit... not a camera or operating system limit).   I'm "guessing" that it automatically creates a new file and just keeps streaming video as one file fills up.
    You should probably rent one to make sure it meets your needs.
    Tim Campbell
    5D II, 5D III, 60Da

  • I am unable to download my picture from my camera canon eos 70d to my computer.

      I AM UNABLE TO DOWNLOAD MY PICTURE FROM CAMERA CANON EOS 70D TO MY COMPUTER. I HAVE INSTALL THE SOFTWARE FROM CANON EOS SOLUTION DISK 28.2.

    "...The question then came up whether repeated removal/insertion of the card (in the computer and camera) might eventually wear out the contacts on the card, or worse the camera..."
    Yes, there will be wear and tear over time. It also is possible to force a card into the slot crooked and damage the socket.
    Are these much of an issue?
    In my opinion, no. I change memory cards fairly frequently (mostly Compact Flash, which are probably the most easily damaged), sometimes use 12 or 15 memory cards in a day's shoot and have been doing that shooting digitally for ten years... And have never had even one card wear out or managed to damage a card or socket myself.
    Note: I have pulled a card out too quickly, while it was still writing, and lost about 1/3 of the images on the card... Once! I also have had one "bad card" right from new, from a major manufacturer. Three other identical cards are working fine.
    I do have one older DSLR with a "bent pin" in the Compact Flash socket.... But I bought it that way for $15 in hopes of fixing it. Unfortunately I think the particular pin that got bent managed to short out some of the other electronics in the camera, so it's probably not practical to fix (makes a nice paperweight). I've seen other cameras, particularly those using Compact Flash memory, with bent pins. Some were pretty easily fixed. Others needed a new socket or more.
    Just looking at the posts on various discussion forums, I suspect it's a much more frequent issue for the USB cable or the USB socket in the camera to wear or get damaged. Plus camera batteries are only good for a certain number of charge/discharge cycles (I've heard 400X is typical, but don't really know).
    So personally I'd be more concerned about directly linking the camera with the USB cable and leaving the camera powered on while downloading.... Feel better just pulling the memory card and using a card reader.
    Alan Myers
    San Jose, Calif., USA
    "Walk softly and carry a big lens."
    GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
    FLICKR & PRINTROOM 

  • Lenses not listed in the Lens Optimizer in Digital Photo Professional

    As the topic title states my lenses are not listed in the Digital Lens Optimizer. I've placed the CD in the tray, and yet the program says it's connecting to the server, and when done, they are not found in the list. The lenses are:
    EF-S 18-55mm f/3.5-5.6 IS II
    EF-S 55-250mm f/4-5.6 IS II
    Why are they not listed? How do I get them?
     DPP version 3.13.0.1
    EOS 70D / EOS Rebel t4i / EF-S 18-55mm f3.5-5.6 IS II / EF-S 55-250mm f4-5.6 IS II / Sigma 17-50 f2.8/ Canon EF-S 60mm f2.8 macro/ Canon EF 100mm f2.8 macro/ Tamron 70-300mm / 430EX II Speedlite / Canon FS 300
    Canon Pixma MG 3100 / Canon LiDE 2100
    Adobe Lightroom 4, Canon DPP, Corel Paintshop Pro X4

    Of the lenses I have, the following are not supported by DPP 4 (However, they are supported "in camera" with EOS Utility 3)
    Canon EF 50mm f/1.8 II USM 
    Canon EF 20-35mm f/3.5-4.5 USM
    Canon EF 24-85mm f/3.5-4.5 USM
    Canon EF 28-90mm f/4-5.6 USM
    Canon EF 28-105mm f/3.5-4.5 II USM
    Canon EF 28-135mm f/3.5-5.6 IS USM
    Canon EF 75-300mm f4.5-5.6 USM
    I don't care if they are "old" lenses or not. Why have the correction profiles for "in camera" correction (when saving/converting to JPG) and not in DPP 4? They have the data, they could just port it over from the database used in EOS Utility 3.
    These lens correction profiles bring new life to some of the old "film" lenses like the Canon EF 20-35mm f/3.5-4.5 USM lens. That lens has lots of distortion. However with in camera correction, it now produces good pictures.
    I am not a professional photographer. I am a photography enthuisasts. I'll NEVER spend $1,000.00 or more for an "L" series lens (in fact I sold the Canon 24-105 f/4 L "kit lens that came with my EOS 5D. It was way too heavy, and the zoom on the low end was cramped (only 4mm movement between 24mm and 28mm). I like/use my Canon EF 28-105mm f/3.5-4.5 II USM and Canon EF 28-135mm f/3.5-5.6 IS USM better.
    Maybe my mistake is that I am using a program call Digital Photo Professional and I am not a professional. I noticed that that software leans heavily and supports the "L" series lenses.

  • EOS 70D display screen not working because of humidity - Canon cutomer service totally unhelpful

    Hi!
    I have purchased an EOS 70D last October. Everything was working perfectly until I took it to the Caribbean, where on the second day the display screen stopped working. I could still take photos, but nothing was shown on the screen. I currently live in Canada. I took the camera to the store, where they told me that I have to send the camera (that still has warranty on it) at my own cost to the official repair centre. After a week, i got a letter from them, saying the following:
    "We have received your equipment for evaluation and repair. Upon further examination it was determined that we are unable to repair your equipment therefore
    Canon has suggested a replacement product to you in exchange for your original unit at the cost detailed below. Please respond to this estimate promptly to
    avoid having your equipment returned.
    We will replace your equipment with a EOS 70D. The new serial number is not yet available.
    Upon inspection, technician found unit is beyond repair due to moisture damage. Estimate has been adjusted to reflect replacement suggestion."
    I am furious. They are offering me to buy a new camera for the same price. I called customer service and asked them to explain the letter. They said they will send me photos of the inside of the camera, where they have found mositure. I asked them to re-check it, as I didn't misuse it, I didn't drop it in the water, or anything of that kind. They said the camera must have been used in a very humid/or very cold place. Can they be serious? Is that really my fault? I mean, I bought the camera to be able to take pictures anywhere I go. I didn't do anything extra to it or with it. I will take this as far as I can, I just don't find this a normal response. Any suggestions??? Anyone had the same problem before?

    Every post ought to have a learning opportunity so I am attaching a list compiled by a Canon technical advisor addressing the problem of handling photographic equipment in hot weather.
    Hot Weather Photo Equipment Handling Tips 
    Compiled by Chuck Westfall, Technical Advisor/Canon U.S.A., Inc.
    1.) Avoid Condensation:
    This is a biggie. If temperature and humidity differentials are high enough, condensation may occur when moving photo equipment from a relatively cool environment such as an air-conditioned vehicle, to a warmer one. When condensation forms inside a lens, for instance, internal elements can fog up, preventing clear images. When condensation gets bad enough inside a camera body, it can cause short circuits resulting in unexpected shutdowns. Worse yet, when equipment temperatures finally equalize to the warmer environment, water droplets on glass surfaces inside a lens may dry out and leave spots, mildew or fungus that can’t be cleaned by the photographer.
    Similarly, when condensation dries up inside a camera, fungus, mildew, rust or corrosion may be left behind on printed circuit boards, viewfinder eyepieces, shutter curtains, or other internal components. If any of this happens, the equipment may be permanently damaged.
    Incidentally, no matter how good it is, ‘weather sealing’ cannot prevent condensation, nor was it ever intended to do so. Damage caused by condensation is considered a user error, and it will void warranty coverage. One of the best methods to avoid condensation is to allow photo equipment to warm up gradually before exposing it to a hot environment. If this is not practical, consider placing the equipment in an airtight, resealable plastic bag with silica gel packets inside before exposing it to heat. (Don’t forget to squeeze as much air as possible out of the bag before you seal it, otherwise this technique may not work.) Using this method, the condensation will form on the bag instead of the equipment. Once the condensation on the bag has dried out, it should be safe to remove the equipment and start using it.
    On a related matter, in hot and humid conditions, perspiration may cause condensation to form on your camera’s viewfinder eyepiece. Some camera manufacturers including Canon offer anti-fog eyepieces to prevent condensation from forming.
    2.)  What To Do When Condensation Has Occurred:
    Use a soft, dry clean cloth to remove moisture from exterior surfaces. If possible, place the equipment in a dry, well-ventilated area to prevent further condensation from occurring.
    3.)  Cover Equipment When Not In Use:
    If you must leave your camera equipment exposed to high heat and/or humidity conditions for long periods of time, consider covering it with a dry white towel when it’s not in use. Even when condensation is not an issue, heat absorption is another big concern for professional cameras and lenses, and especially digital SLRs. Cameras are designed to operate within a specific range of temperature and humidity conditions. For instance, the EOS-1D Mark IV professional camera has a high-end temperature rating of 45C/113F and a humidity rating of 85% or less. Since most camera bodies are black, internal temperatures can exceed this limit even when the ambient temperature is below it.
    4.)  Avoid or Limit the Use of Camera Settings that Generate Heat:
    Heat build-up caused by ambient temperatures is one problem, but the other side of the coin is heat build-up caused by the camera itself. This has become more of an issue recently with professional digital SLRs due to the incorporation of new features such as Live View and HD video recording. These features generate heat from several camera components including battery packs, image sensors and LCD screens. If you plan on using Live View or recording video outdoors in high-temperature environments with your digital SLR, there are a couple of things you can do to minimize heat build-up inside the camera:
    Limit the use of Live View for still shots. This will minimize heat build-up from the image sensor and LCD screen. 
    Use an external monitor when recording video. This will shut off the camera’s LCD screen. 
    Use an AC Adapter Kit. This will reduce heat build-up by eliminating battery packs. 
    Set the camera’s Auto Power Off setting to a reasonably short interval. Let the camera help to minimize heat build-up by allowing it to shut down automatically after a minute or two of inactivity. This will also conserve battery power.
     5.)  Storing Equipment in Hot Weather:
    In high temperature environments with ambient humidity over 80%, use silica gel packets in your gadget bag or equipment case to absorb excessive moisture and protect your camera gear. Silica gel packets can be purchased in quantity from professional camera dealers and chemical supply houses, and are available in clear or moisture-indicating varieties. For long-term storage, consider storing camera equipment in Tupperware or similar sealable plastic containers with silica gel packets to absorb moisture and prevent fungus and mildew. In severely humid environments, even silica gel packets may be insufficient; so-called “camera dry cabinets” from manufacturers such as Toyo Living are available for such conditions.  No matter what kind of storage container you use, ideally the humidity level should be less than 60% for maximum protection. Relatively inexpensive hygrometers of the type used for cigar thermidors are available to monitor humidity levels inside the containers.  Remember to test hygrometers at least once a year, and recalibrate them if necessary.
    6.)  Store Battery Packs Separately and Keep Equipment Clean:
    To prevent corrosion of your camera’s electrical contacts, remove battery packs prior to long-term storage. Also, as a matter of good housekeeping, clean cameras and lenses regularly and thoroughly. This is especially important in hot and humid weather, or after your camera equipment has been exposed to rain or condensation, to prevent mildew and fungus from forming.
    © August, 2010 by Chuck Westfall
    http://blog.photoshelter.com/2010/08/keeping-your-camera-gear-safe-in-the-heat/

  • Back buttons wont work on Canon 70D and images wont display - help!

    Hi guys. so i was shooting at tthe beach with my cannon 70d, i took some 2" long exposures with flash on then my camera shutter started to lag and the camera would say "busy" alot. after a few pictures the back buttons on my camera stopped working (like delete, menu, options and such) and the images i took would not display on the screen. my hands were a bit wet while i was holding the camera but shoud that be an issue since it is weather sealed? please let me know what to do. 

    GeorgeCKW wrote:
    so u suggest i should take it to repair it at the store? yes it was salty water. 
    There may be nothing wrong with your camera.
    You mention taking long exposures with it. If you had Long Exposure Noise Reduction enabled, that will cause a delay and "busy" warning. The way LENR works is right after you take your shot, the camera automatically takes a second shot of the same duration, with the shutter closed. This "blank" shot is then used to determine where noise is occuring and that data is used to "subtract" the noise from the first shot. While the second "blank" shot is being made the camera is in "busy" mode. If your first shot was 2 seconds, then the camera will show "busy" for another 2 seconds while LENR takes the second shot. If your first exposure was 30 seconds, then there will be an additional 30 second busy period, etc. You can cancel the second shot from happening by turning the camera off, but doing so will delete both the original shot and the second "blank" shot. To prevent LENR from automatically operating, it can be turned off in the camera's menu. With it off, your images will typically show more digital "noise" as a result, of course, so you should plan to apply some noise reduction later during post-processing.
    Another possibility, you mention using flash. There are a lot of variables, but it's also possible the camera was showing "busy" while the flash was recycling (recharging, if you will). If using the built-in flash in particular, the duration of recycling can be slower than it would be with an external, self-powered flash. This is because the built-in relies upon the camera's main battery for power. As the power level of that battery is reduced, the duration of recycling will grow longer.
    Also when using flash, after a certain number of "pops" are done within a certain time period, most flashes have a protection featyre to prevent them from overheating, by stopping any additional flashes for a while, giving the flash time to cool off.
    If you merely touched the camera with wet hands, it's possible but not certain that the dampness might have damaged the camera in some way. Essentially, some water has to intrude into the circuitry and cause the camera to short out to cause a problem. The 70D has some sealing and resistance, though maybe not as much as more high end cameras. But no Canon DSLR is completely waterproof, either. I'd be particularly careful if changing memory cards or lens or batteries, not to let water get inside. But I've gotten soaked in a sudden, heavy downpour while carrying a pair of older and less well sealed 30Ds without any problem. Once I got to shelter I turned the cameras off, removed all the batteries & memory cards, removed the lens and propped open the memory card & battery doors,  then let them sit to dry for a several days. Both worked just fine afterward.
    Unless the camera gets splashed with water... or dunked in it... it's rare for water to get inside. I think it unlikely to happen merely because your hands were wet. But, it only takes a single drop in just the wrong place, so I'm not entirely ruling it out as a possibility, either.
    Salt water is worse than fresh water. The salt increases the waters conductivity and is corrosive too. If the outside of the camera got wet from your hands, you might want to wipe it down with a lightly dampened, lint free rag or a pre-moistened "monitor wipe" or similar, just to be sure that any salts or minerals are removed. Stay off the optics of the lens and viewfinder, though. If those need cleaning too, use lens cleaning procedures instead.  
    I do not recommend putting a camera in rice to dry it out, other than extreme emergencies. Rice gives off dust, which can intrude places you don't want it and make for problems too. Better is to use some sort of dessicant in a package that prevents dust... a lot of people who shoot in humid environments will keep a package of dessicant in their camera bag. For example: 40gm dessicant in aluminum tin with indicator. This can be dried in an oven at low heat and reused over and over. It has a "saturation" indicator on it.
    Prevention is the best solution. I recommend getting some sort of protective cover for your camera if you will be using it at the beach a lot. Not just to keep water off it, but also sand can cause problems if it finds it's way into some of the camera's nooks and crannies. There are raincovers you can purchase, or you can simply make one out of a plastic bag, some gaffer or duct tape and rubber bands. For really wet work very close to surf or right in the water, there are fully sealed underwater housing ranging from relatively inexpensive, heavy duty plastic bags that might serve near the surface, to diving rigs that can be used doen to 100 feet or more depth, but cost a whole heck of a lot more. These also often limit the lenses you can use with the camera, and might require special flashes be used.
    Hope this helps and your camera is fine.
    Alan Myers
    San Jose, Calif., USA
    "Walk softly and carry a big lens."
    GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
    FLICKR & PRINTROOM 

  • EOS 70D autofocus tracking???

    Will the phase detect 19 point AF system in the 70D track subjects moving toward the camera at 100 miles per hour in AI Server mode? In other words, is the 70D usable for still photos of aircraft in flight, horse racing and automobile racing? Any references to articles on the 70D AF sustem that discuss its ability to track subjects moving toward the camera would be appreciated. Thanks.
    Bill
    Solved!
    Go to Solution.

    What len are you using for the aircraft stuff? Last year I sold my 7D at the end of my event season but it was used a lot with the 100-400 L on it for those planes that were away from the flight line. I used a 1D4 with a 28-300 L for the flight line & immediate area. Before that season I relied on the 1Ds2 & a 35-350 L for the flight line stuff & either the 1D2n or the 7D with the 100-400. It took a while to trust that the 7D could replace the 1D2n but it did & it did it well. It wasn't every bit as fast AF wise but the extra pixels more than made up for the very slight difference in AF systems. Keep in mind R/C events are generally held in good to great light.
    This is the link to an event album from last year featuring EDF jets (electric ducted fan) and it's the most challenging thing I shoot due to size & their speed. The basic photo information will tell you which body took the photo.
    https://picasaweb.google.com/TCPRCphotos/RideauFlyersRCClub3rdAnnualEDFEventJune2012#
    Considering that what I have read the 70D should be capable of the same captures but maybe not the same FPS but the lens also needs to have a fast AF too. I've gone through several lenses learning what fits my needs best. 
    "A skill is developed through constant practice with a passion to improve, not bought."

  • 70D - bright lights cuasing artifacts when shooting video

    I'm getting lots of artifacts created by bright light sources when shooting video. It seems to be the intensity of the light and not the type of light that is the problem. They show up in the picture as a kind of mirror reflection, often in green, on a different part of the image. Any ideas how to avoid this?
    Canon 70D, 50mm 1.8, NTSC, 30fps, 1/60 shutter, no filters
    video shows the problem http://youtu.be/iCAiGoJCGSM
    The bottom of this pic shows the green reflections from the lights at the top

    metice wrote:
    Thanks Tim, the lens is the Canon 50mm 1.8.
    I'm using a UV filter - is it worth taking this off?
    I'm quite disappointed because it's very noticeable on many night shots which have the light source in the frame. Anything else that can be done to lessen the glare, apart from changing the lens?
    Hi,
    Yes, those are definitely optically related flare effects.
    And, yes, definitely try again without the UV filter, especially if it's an inexpensive, single-coated or uncoated filter. Any filter will increase flare effects when shooting in tough lighting situations like these, a high quality multi-coated might minimize it but still is likely  to show some add'l flare. Cheaper filters can do horrid things to your images, potentially blurring them and causing focus errors, in addition to increasing flare effects.
    Try using a lens hood, too. That physically protects the lens, but also can minimize veiling and other types of flare from bright light sources just outside the image area by preventing oblique light from striking the lens. The 50/1.8 has fairly well recessed front element, but a hood might help even more. Since you are using the lens on a crop sensor camera, instead of the OEM hood (which is designed for full frame), you might look for a 52mm screw-in hood designed for a short telephoto.
    Unfortunately, you will still see some flare effects... The 50/1.8 isn't the best lens dealing with flare. The EF 50/1.4 and Sigma 50/1.4 both are better, but of course they cost more. Also, the 5-bladed aperture of the 50/1.8 contributes to the appearance of those flare effects... The 8-bladed aperture of the EF 50/1.4 or the 9-bladed aperture of the Sigma 50/1.4 give somewhat nicer background blur results (the eight curved blades or the premium EF 50/1.2L can be even better, but that's a rather pricey lens).
    You also might experiment with stopping the lens down a little... both the Canon EF 50/1.8 and 50/1.4 are sharper at f2.0 or f2.2 than they are wide open. You might find they control flare better at a bit smaller aperture, too. I'd experiment with f4, f5.6 and f8, too.
    A zoom lens likely would be worse than using a prime such as you are doing. But some zooms deal with flare pretty effectively.
    Also watch the viewfinder and try slightly changing your position. Even just a little change can make a huge difference.
    Compare these two images I made with my 24-70/2.8L.... I could see the flare occurring in the viewfinder and all I did to dodge a lot of it was change my position slightly.  
    I nearly always use a lens hood. Here's an example of the difference a lens hood can make. The EF-S 10-22mm lens has a huge lens hood that's a bit of a pain to pack. (Most Canon hoods reverse neatly on the lens for storage in minimal space. The 10-22mm's hood is just too large diameter to do that comfortably in any of my camera bags.) I thought about using the lens without any hood, since it's very shallow and doesn't seem it would be very effective anyway, so I did the following test shots...
    As you can see, the first shot without the hood showed a very strong ghost flare. The second shot, after simply adding the hood, shows no flare at all. Note: it was a breezy day, so the clouds moved a bit while I was installing the lens hood. But, obviously the hood is effective. So I carry and use the hood, even if it is a bit of a pain.
    Finally, there are times when flare effects can work for you, might actually add to the image. For example, I think that's the case here...
    Above is a bit abstact... it's the sun reflecting off the corner of a building and was shot with an EF 100/2.8 USM macro lens. I think it would be pretty boring without the flare effects.
    Regarding filters... I have various that I use, too. Including UV  for "protection" (plus C-Pol and othersfor different purposes). They are all stored in my camera bag until actually needed. I never leave a filter on a lens all the time. IMO it's sort of silly to expect much real "protection" from a thin piece of glass (I've actually seen lenses gouged and damaged by broken filters). And there are just too many situations such as yours, where a filter can do more harm than good in the images. Another imporant factor... I use mostly B+W MRC and Hoya HMC or SHMC filters, which are high quality, multi-coated. There are other high quality brands... in fact most manufacturers offer different qrades at different price ranges.
    Plus, when using a filter, it's even more important to use a lens hood as well, to keep oblilque light off the filter.
    Alan Myers
    San Jose, Calif., USA
    "Walk softly and carry a big lens."
    GEAR: 5DII, 7D(x2), 50D(x3), some other cameras, various lenses & accessories
    FLICKR & PRINTROOM 

  • 70D question

    This is probably going to be a really dumb question, but I am going to ask anyway.  I just bought my first dslr camera, the 70d, and it's all a bit overwhelming for a newbie.  I intend on buying one of the DVD sets that explains the cameras features but in the meantime, the one thing I haven't been able to find in the manual or by clicking through the cameras menu is this, and it's my dumb question;
    I will use this camera for wildlife photography and while watching the numerous camera review videos before I made my purchase I heard where they kept talking about how this camera has a crop sensor of 1.6x and by using this feature it would turn a 255mm lens into a 408mm lens?  Ok, so is this a feature you turn off and on or is this camera just always using this crop sensor?  And I think crop sensor was the correct term?
    Dee
    previous camera - Nikon CoolPix
    new camera - Canon 70D
    new to the dslr world, have a lot to learn

    It's not a feature that you turn on and off... the sensor size is what it is.  It's one aspect of your camera that never changes.
    I'll try to explain.
    A "full frame" sensor simply means that the digital sensor is the same size as a single frame of 35mm film.  That size is roughly 36mm x 24mm.  A "full frame" Canon body would be either a 6D, 5D III or 1D X (not listing any of the cameras that Canon no longer markets).
    Your camera has an "APS-C" size sensor.  That means the digital sensor is roughly the same size as a single frame of APS-C film.  APS-C is "Advanced Photographic System - Classic".   A frame of that film is slightly smaller... about 22.5mm x 15mm.  The APS-C crop-frame bodies from Canon include all the Rebel bodies (T3, T3i, T5i and SL1) as well as the mid-range 60D, 70D, and 7D.  Also, the EOS-M is an APS-C body (though that's a mirrorless camera or "MILC" and not a "DSLR").
    The lenses, however are the same.  You can use the same Canon EF series lenses on your camera (and all Canon EOS cameras) as you can on a full-frame camera.  The EF lens projects the same physical size image circle into the camera body on your camera as it does on a full frame camera.
    The APS-C cameras can also use Canon's EF-S lenses.  More on this later in the post. 
    Since the sensor on your camera is physically a little smaller, it means a bit more of the image "spills off" the sides and is not recorded as part of the image.  
    The APS-C format size is referred to as a "crop factor" because it's as though you took an image from a full-frame camera, cropped in to just use the center area... but then enlarged the print.  It makes it *seem* as though you enlarged the image ... or "zoomed in" a bit more.
    The crop factor is 1.6.  This means that if you were to shoot a subject at the same focal length (suppose you use a 50mm lens) with a full-frame camera, and then again with the 70D, it will look as though the image from the 70D was zoomed in by 60% -- effectively the 50mm lens will look a bit as if we had used an 80mm lens on the full-frame camera.
    So now that we've established that the "crop factor" on the sensor means you get a narrower angle of view... and that the narrower angle of view makes it seem as though you've zoomed in a bit, that seems to work in your favor at the "long" end (when you want a long telephoto focal length).  BUT... what happens when you want the opposite?  What happens when you want a wide-angle lens?  Now the crop-factor works AGAINST you.   It makes an otherwise wide angle lens (on a full-frame body) seem not so very wide at all.  Canon offers a different set of lenses that deal with this issue -- those are the EF-S lenses.
    The EF-S are lenses specifically made for the crop-frame sensor cameras.  I have a Canon EF 100mm f/2.8L IS USM Macro lens for my 5D III -- it's a nice macro lens.  But for the crop-factor bodies, Canon makes the EF-S 60mm f/2.8 USM Macro.  It turns out if you multiply 60mm x 1.6 you end up with 96mm -- which is VERY close to the 100mm focal length Macro that they make in the EF series.  These two lenses provide roughly equivalent angles of view on their respective crop factor bodies (of course you can ALSO use the EF 100mm macro and get an even tighter angle of view.)
    So back to your question...  you take the focal length of the lens, multiply it by 1.6, and that gives you a full-frame equivalent (technically it's not equivalent) -- 250mm x 1.6 = 400.  So it would be a bit like using a 400mm lens on a full-frame camera.
    Here's an article at Cambridge in Colour that discusses it:  http://www.cambridgeincolour.com/tutorials/digital-camera-sensor-size.htm
    Here's a video that discuses it:  https://www.youtube.com/watch?v=yAdI5BBgFHQ
    Tim Campbell
    5D II, 5D III, 60Da

  • 70d focus issue - admins answers please.

    Will you admit that lot of 70d suffering focus issues?
    Will you fix it by firmware update? Recall?
    It's a big shame that everybody on the net speak about it and waste 1000 dollars and you just ignore us!!
    I would like to get some answers please.
    Thank you.

    I have the same issue. It's odd, I've had the 70d since November-ish. I used to be a '2nd shooter' at weddings w/ just my olf Nikon d5100 & a 50mm 1.8 for portraits, and the kit lens for wides. Total N00b. .I started getting a grasp of things, and my wedding partner decided to double-book a bunch fo weddings. Since he was a Canon user, and I was looking for an upgrade to the 5100, I switched to canon & bought a 70D. Since then he's complained about focus issues, blaming me, and since i'm newer to this gig, took it to heart and assumed it was me. I have a steady hand, and believe to not be any kind of user error - I know how to shoot. 
    Today I discovered the 50+ pages of forum complaints on http://photography-on-the.net/forum/showthread.php?t=1354075 & the Canon forums http://forums.usa.canon.com/t5/EOS/When-will-canon-fix-the-focus-issues-with-the-70D/td-p/79330/page... - to find out that it might have been the camera all along? I just told the guy to screw off this weekend and quit because obviously I wasn't the photographer he needed... This focus problem hasn't been confirmed for me this week, but shooting w/ Tamron 17-50 2.8 & canon f4L 24-105, sure seems like theyr'e in the range of speculation here... 
    Will there be an update/recall to fix this?
    Today I stumbled across a video (from the canon forums link) showing two photographers describing their issue w/ live view vs viewfinder view, and focusins on the center focal point for lenses 1.4-4.0... this sounds a LOT like my issue and am praying I can find an answer to this without having to call canon and RMA it. 

  • 70D + Tamron 18-280

    I recently replaced my 60D with a 70D. I like it a lot, However, my Tamron 18 – 280 will not autofocus at longer zoom range, really anything above about 75mm.
    Any ideas?
    thanks.

    To OP, the Tamron 18-270 mm f/3.5-6.3 ranges from f/3.5 on the short end (18mm) to f/6.3 on the long end (270mm). The D70 has a unique autofocus system which utilizes the sensor pixels for accuracy. Canon has identified certain Canon lenses which have limited compatibility with system.
    My guess is that your lens does not offer full compatibility in part because of the too small maximum aperature of f/6.3 on the long end. This is pretty much the extent of the knowledge I was able to gleen from the web in a short while. Good luck with your work or play.

  • 70D or 6D???

    Trying to decide between the 70D or 6D.. Don't have too much to spend, but have enough for the 6D. I shoot mainly outdoor portraits and landscapes, very rarely do I shoot inside, so the flash on the 70D is not important. I need a very fast camera that produces excellent quality pictures. I do not like to shoot on continuous so by fast, I mean not on continuous. Anyone have a suggestion as to what to buy? Also any suggestions on any lenses for portraits/landscapes/everyday things?

    cuda719 wrote:
    I would lean more to the 6D it has a Higher dynamic range and will give you a better landscape picture. For lenses it depends on our budget the 17-40 f4 L or the 16-35 f2.8 L are great lenses for landscape work. I use the 16-35 and it serves me very well.
    This.  Not so much for landscape pictures (with decent post processing I don't think you'll see much of a difference).  But the OP mentioned outdoor portraits, and the 6Ds superior highlight and shadow recovery will be useful.
    The OP mentioned "best image quality" several times, and never mentioned anything about moving subjects.  That alone would make me pick the 6D.  The 6D put everything it had into image quality and high ISO performance; the 70D has the superior AF system (although there have been many posts recently contesting this).

  • 70D bounce flash

    Hi,
    Recently I upgraded my 650D to the 70D and I noticed that the pictures are a lot darker (underexposed) when bouncing the flash. I have tested this with several other cameras, the 600D, 650D and the 700D using the 430EXII and 580EX all with the 18-135 STM. All but the 70D resulted in acceptable exposure.
    Is there a setting I am missing? I used both the [A+] and P setting.

    What the OP is seeing is a fairly well documented problem at this point.  I believe the problem is a bug/defect with most (if not all) 70D's.  I'm hoping Canon will be able to address this problem via a firmware update.
    The problem has been documented in several threads:
    http://www.dpreview.com/forums/thread/3591509
    http://photography-on-the.net/forum/showthread.php?t=1347702
    http://www.dpreview.com/forums/post/52625732
    In two of those threads I've posted some results of testing I did measuring the flash output with a light sensor and oscilloscope.  I believe those results are fairly conclusive that there is a defect/bug with the 70D.
    I'll repost my results from that testing here for anyone interested...
    Test setup:
    Used tripod in fixed location
    Results taken from 70D and Xsi
    In all cases, only the body was swapped out. Used same lens/flash between camera bodies
    All shots taken in Manual mode, 1/100 shutter, f5.6, iso-800
    I did not touch ANY settings during the whole shoot (except for FEC on the 70D on one shot per focal length...see more explanation below)
    I enabled an option on my scope to capture at 56Mpts memory depth. With this increased depth, I was able to capture enough data in a single capture to show both the pre-flash and also the real flash and still be able to zoom into each flash event with enough fidelity left to show an accurate measurement.
    Attached image explanation:
    For the three attached images, there are three rows each.
    Top row is 70D, second row is Xsi, third row is 70D...same config but I took multiple shots adjusting the FEC until the flash output was nearly identical to the flash output from the Xsi.
    First column is a scope capture showing the pre-flash, followed by the real flash.
    Second column is still from the same capture of both flashes in column 1, but zoomed into the pre-flash
    Third column is still from the same capture of both flashes in column 1, but zoomed into the 'real' exposing flash
    Fourth column is the picture correlating to the scope data captured.
    Conclusions so far:
    There is almost NO DOUBT a defect/bug with at least some 70D's.
    I don't believe there is any timing problems...the under-exposure simply is from the camera telling the flash to output a lower level than it should.
    The 50mm data from the 18-135mm vs from the 50mm f1.8 is VERY interesting. With all settings identical and just swapping the lens...exposure between the two lenses should be nearly identical. This right here is one of the reasons I think we can confidently claim that this problem is NOT user error, nor claim the camera is doing what its supposed to and trying to save highlights. The camera is clearly NOT doing what it should be doing when the 18-135mm lens (or other slower max aperture lenses are attached).
    The problem is definitely related to max aperture. I really want to test a non-canon slow lens to see if it does the same thing or if its only applicable to canon lenses.
    Pre-flash output looks normal for both cameras.
    In the first attached image (18-135mm lens @ 135mm), I had to dial in +2-1/3 FEC on the 70D in the third row to match the flash output of the Xsi (resulting in nearly identical exposure).
    In the second attached image (18-135mm lens @ 50mm), I had to dial in +2.0 FEC on the 70D in the third row to match the flash output of the Xsi (resulting in nearly identical exposure).
    In the third attached image (50mm f1.8 lens @ 50mm), I had to dial in +0.0 FEC on the 70D in the third row to match the flash output of the Xsi (resulting in nearly identical exposure).
    Images are fairly large to show all columns/rows/data. I've included links in the summary below so you can download the original size pictures. You probably want to view original size to see all details accurately.
    Please let me know if anyone can think of additional testing I can do with a scope to further define the parameters of this defect/bug...
    Attached file summary (also links to full resolution pics):
    18-135mm lens, @135mm, +2-1/3 FEC needed on 70D in third row to match Xsi
    18-135mm lens, @50mm, +2.0 FEC needed on 70D in third row to match Xsi
    50mm f1.8 lens, @50mm, +0.0 FEC needed on 70D in third row to match Xsi
    Picture #1
    Picture #2
    Picture #3

Maybe you are looking for