Luminous Landscape Forum
Equipment & Techniques => Digital Cameras & Shooting Techniques => Topic started by: eronald on August 19, 2007, 06:42:46 am
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It's all linked on my blog
www.monitor-calibration.net
Edmund
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Great... December in the US means July in Switzerland
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Great... December in the US means July in Switzerland
[a href=\"index.php?act=findpost&pid=134097\"][{POST_SNAPBACK}][/a]
There will be units available in France, Italy and Germany - exactly why can't you purchase from one of these countries ? It's one hour by train ...
Edmund
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Hi
Is this for real, this is not how Canon functions???
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There will be units available in France, Italy and Germany - exactly why can't you purchase from one of these countries ? It's one hour by train ...
Edmund
[a href=\"index.php?act=findpost&pid=134099\"][{POST_SNAPBACK}][/a]
Not even one hour... Evian is just across the lake - 1/4h! Well, I've had bad experiences when I needed to have my equipment repaired. Although, then must honor the international warranty, repairs take forever.
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Not even one hour... Evian is just across the lake - 1/4h! Well, I've had bad experiences when I needed to have my equipment repaired. Although, then must honor the international warranty, repairs take forever.
[a href=\"index.php?act=findpost&pid=134101\"][{POST_SNAPBACK}][/a]
This is a bit off topic, but if you're a pro you're supposed to join CPS, and then Amsterdam or Paris will repair your stuff super-fast. Both of these will repair you stuff fast anyway - I'm not even sure that Switzerland rates a repair department that has the parts for EOS-1 series and the training. If you really have issues, you can always come to Paris and I'll buy you a drink - I know some very nice retailers here, for Canon (Not medium format !).
Edmund
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This is a bit off topic, but if you're a pro you're supposed to join CPS, and then Amsterdam or Paris will repair your stuff super-fast. Both of these will repair you stuff fast anyway - I'm not even sure that Switzerland rates a repair department that has the parts for EOS-1 series and the training. If you really have issues, you can always come to Paris and I'll buy you a drink -
Edmund
[a href=\"index.php?act=findpost&pid=134102\"][{POST_SNAPBACK}][/a]
Thanks for the offer, Edmund.
Last time I complained at CPS, they told to get 24-70 in the US! Repairs in Switzerland are officially handled by a very small company and they do an excellent job but for some reason when I got my stuff from local dealers it was always repaired promptly. Stuff I purchased outside Switzerland took ages. Perhaps it was bad luck, after all?
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Go directly to Amazon.com for the news : http://tinyurl.com/22kxr3 (http://tinyurl.com/22kxr3) .
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At least one of the specs is wrong: Sensor size is listed as 28 x 18.7 instead of 36 x 24.
Makes me wonder if I should believe the Digital Terminal is USB, no longer FireWire 4-pin.
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At least one of the specs is wrong: Sensor size is listed as 28 x 18.7 instead of 36 x 24.
Makes me wonder if I should believe the Digital Terminal is USB, no longer FireWire 4-pin.
[a href=\"index.php?act=findpost&pid=134108\"][{POST_SNAPBACK}][/a]
Yeah, that looks kind of wierd. My feeling is everything except image size and frame rate will be identical to the 1DIII. Including focus
Edmund
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...... Including focus
Edmund
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=134112\")
I hope not...
This link has the right sensor size
[a href=\"http://www.amazon.com/Canon-1Ds-Mark-III-Digital/dp/B000V5LX00/ref=sr_1_6/103-6632904-9598204?ie=UTF8&s=photo&qid=1187517273&sr=1-6]http://www.amazon.com/Canon-1Ds-Mark-III-D...87517273&sr=1-6[/url]
Mike
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Page has been pulled from Amazon for 1DS3, but the cat is out of the bag.
--John
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Page has been pulled from Amazon for 1DS3, but the cat is out of the bag.
--John
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=134137\")
For your enjoyment, I've reposted the Amazon 1Ds3 pages here:
[a href=\"http://canon1ds3.blogspot.com/]http://canon1ds3.blogspot.com/[/url]
Edmund
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No matter what Canon does with the body, there is still the issue of Canon lenses. There is still a tiny viewfinder (compared to my WLF), and no possibility of sticking the digital back on a view camera for technical movements. I doubt the image quality will match the MFDBs. It is also still stuck at 1/250 flash sync.
Interesting that this body is more expensive than the Mamiya ZD for fewer pixels. By the time you add the rumoured new L lenses to this body, the overall system will be significantly more than a Mamiya ZD with a selection of used lenses.
I doubt the new Canon will be any lighter or more compact than a Mamiya ZD.
Of course the high frame rate is the one big advantage of the Canon. That may or may not matter to the individual. My studio flash system can't recharge quickly enough for 5fps anyway. Which raises the question: how many sports photographers need 21MP?
It is also a 3:2 aspect ratio, which you may or may not prefer to 4:3. Personally I prefer the latter. If you are doing a lot of landscape work you may prefer the former.
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As a 1DsII owner, I will not touch this camera until at least 4-6 months have gone by and all the bugs are clearly out. For some improvement that may or may not make my images better and an extra 5 megapixels, I can wait.
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The Amazon links are gone. However for a more permanent peek into whats coming up, have a look at the Bob Atkins site
For the 40d:
http://www.bobatkins.com/photography/digit...on_eos_40D.html (http://www.bobatkins.com/photography/digital/canon_eos_40D.html)
The 1Ds markiii is here:
http://www.bobatkins.com/photography/digit..._1Ds_MkIII.html (http://www.bobatkins.com/photography/digital/canon_eos_1Ds_MkIII.html)
William Long
www.longshots.com.au
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Also of interest among the specs:
"... Particularly noteworthy in DPP 3.2 is a new Lens Aberration Correction Function that corrects various image defects such as chromatic aberration, color blur, vignetting, and distortion. Initially, the Lens Aberration Correction Function will support images captured by the EOS-1Ds Mark III and 11 other EOS Digital SLRs using any of 29 individual EF and EF-S lenses..."
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Also of interest among the specs:
"... Particularly noteworthy in DPP 3.2 is a new Lens Aberration Correction Function that corrects various image defects such as chromatic aberration, color blur, vignetting, and distortion. Initially, the Lens Aberration Correction Function will support images captured by the EOS-1Ds Mark III and 11 other EOS Digital SLRs using any of 29 individual EF and EF-S lenses..."
[a href=\"index.php?act=findpost&pid=134232\"][{POST_SNAPBACK}][/a]
Perhaps this development will spur DXO Optics to concentrate more on non-Canon lenses. One of my more frequently used lenses, the Sigma 15-30, is not catered for, which is mainly why I haven't bought into the system.
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The 40D was announced officially in Australia, today 20th August. Specs are as so called "rumours", which is good news for "rumours" re 1DSmark3
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So was the 1Ds MkIII.
Available November. AUD$12,999.00
"To our valued CPS Members,
With pleasure, Canon announces another breakthrough product continuing our leadership in digital SLR cameras: the new EOS 1Ds Mark III.
Innovative performance and unrivalled SLR quality takes studio photography to a new level. This camera is hot!!!
Shipping in November as a replacement for the leading EOS 1Ds Mark II, you can find out more about the EOS 1Ds Mark III at: www.canon.com.au
A Press Release and Specifications Sheet is also attached for your reference. Please don't hesitate to contact your Canon professional Dealer or CPS on 1800 804 240 if you have any questions."
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Canon has put it up on their site so it's official:
http://www.usa.canon.com/consumer/controll...9&modelid=15710 (http://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=139&modelid=15710)
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Canon has put it up on their site so it's official:
http://www.usa.canon.com/consumer/controll...9&modelid=15710 (http://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=139&modelid=15710)
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=134249\")
Also:
[a href=\"http://www.robgalbraith.com/bins/content_page.asp?cid=7-8742-9077]http://www.robgalbraith.com/bins/content_p...cid=7-8742-9077[/url]
and
http://www.dpreview.com/news/0708/07082009...s1dsmarkiii.asp (http://www.dpreview.com/news/0708/07082009canoneos1dsmarkiii.asp)
And this (for what it's worth, as there is no attribution):
We've had some more direct comments (thanks) on the performance of 1Ds Mk3 models in the studio
"picture quality thrashes a P25 back and except in very bright lights is generally better than a P45 because of the low low noise and amazing colour/dynamic range. There is phenomenal shadow and highlight detail in the raw files, photographers using the 1Ds3 are creating HDR 'looks' by processing the same RAW file 3 or 4 times to bring our different exposure"
http://www.northlight-images.co.uk/Canon_1DS_MkIII.html (http://www.northlight-images.co.uk/Canon_1DS_MkIII.html)
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They must be joking right...
How can it take them so long to come up with a relatively minor upgrade and not make it available until 2-3 months after the annoucement???
In the IT world, this is called a "paper launch".
Or could it be that an expected high key announcement from a competitor triggered their marketing nerves?
Cheers,
Bernard
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Well, we are excited! At least 3 threads going simultaneously on this subject.
I wonder how the successor to the 5D is going to fit into the current range. I've forgotten what the time interval was between the release of the 1Ds2 and the 5D, but I haven't forgotten the many comments about how marginal the resolution difference was between the 12.8mp 5D and the 16.7mp 1Ds2.
If the successor to the 5D is going to be around 16mp, I might not be interested.
However, if I splash out on a 1Ds3 and 6 months later a 5DII also boasts 21mp at less than half the price, I might start blaming myself for a lack of patience.
I'm a bit disappointed the 1Ds3 does not have an ISO 6400 option like the 1D3. I suppose this is explained by the slightly smaller pixel pitch of the 1Ds3 (6.4 microns as opposed to 7.2).
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Well, we are excited!
[a href=\"index.php?act=findpost&pid=134262\"][{POST_SNAPBACK}][/a]
Well I know I am!
I've had a standing order in for the 1Ds MkIII at a Canon Pro dealer since the beginning of the year and am No1 on the list. :-)
November is even a bit earlier than I was expecting (assuming that timing doesn't slip). I'm looking forward to putting my 1D MkII into semi-retirement - MotoGP's aside.
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http://www.canon.com.au/products/cameras/d...1dsmarkiii.aspx (http://www.canon.com.au/products/cameras/digital_slr/eos1dsmarkiii.aspx)
Australia web site
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From an advertising perspective, does anyone know how this camera will tether? If the "s" in 1DsII stands for studio, but the firewire cable had to be duct-taped to the body to keep it from falling out, does anyone know if tethering options are now improved with this new body?
Are there any new options for wireless transmission of the RAW files to a studio computer?
There seems to be mention of USB2 for tethering. Isn't that slower than Firewire?
Will those old "cropping masks" work in this new camera, to change the 24x36 proportion viewfinder? Is there any way to "tag" the files in DPP to auto-crop them from 24x36?
I am feeling like another poster here -- all this time, and where are the major improvements? Am I missing something?
MT, http://www.marktucker.com (http://www.marktucker.com)
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Canon has put it up on their site so it's official:
http://www.usa.canon.com/consumer/controll...9&modelid=15710 (http://www.usa.canon.com/consumer/controller?act=ModelInfoAct&fcategoryid=139&modelid=15710)
[a href=\"index.php?act=findpost&pid=134249\"][{POST_SNAPBACK}][/a]
I'm disappointed in the USB feature. I shoot tethered most of the time and was hoping for FireWire800 to transfer the larger files. USB 2.0 supposedly has a transfer rate comparable to FW400, but in real world comparisons (5d vs. 1Ds2) the USB2 is slower than FW400.
As for features besides the 22MP, it's all under the hood: Digic 3 in parallel, highlight retention, upgraded autofocus. It doesn't seem as big of an improvement as the 1Ds2 was compared to the 1Ds1. Perhaps Canon was waiting for 1Ds2 sales to fully taper before bringing this camera to market.
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From an advertising perspective, does anyone know how this camera will tether? If the "s" in 1DsII stands for studio, but the firewire cable had to be duct-taped to the body to keep it from falling out, does anyone know if tethering options are now improved with this new body?
Are there any new options for wireless transmission of the RAW files to a studio computer?
There seems to be mention of USB2 for tethering. Isn't that slower than Firewire?
Will those old "cropping masks" work in this new camera, to change the 24x36 proportion viewfinder? Is there any way to "tag" the files in DPP to auto-crop them from 24x36?
I am feeling like another poster here -- all this time, and where are the major improvements? Am I missing something?
MT, http://www.marktucker.com (http://www.marktucker.com)
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=134309\")
I firmly believe that since it shares much of the same characteristics as the 1DIII that it too will be able to benefit from the new wireless transmitter:
[a href=\"http://robgalbraith.com/bins/multi_page.asp?cid=7-8738-8908-8948]http://robgalbraith.com/bins/multi_page.as...-8738-8908-8948[/url]
Aside from that, I thought this was a huge improvement. My biggest gripe with the 1DsII was the tonal gradation and now they've introduced 14bits. If they've spread out the AF points, that'd be another welcome addition. Another huge improvement would have to be ergonomics. I never saw the 2 button press as being that beneficial and they've finally ceded it. Ha.
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From an advertising perspective, does anyone know how this camera will tether? If the "s" in 1DsII stands for studio, but the firewire cable had to be duct-taped to the body to keep it from falling out, does anyone know if tethering options are now improved with this new body?
I would say that even though we had the crappy firewire connection setup on the II, the tether option is now worse. Looks to me that it is USB like the 5D and that is limited to 16ft unless you drag around a battery powered hub. Either my tethered shooting days are over or I am now a wi-fi shooter (if the new wi-fi contraption works). The return of the 6 pin might have been nice.
Are there any new options for wireless transmission of the RAW files to a studio computer?
They have a new wi-fi unit - still kind of big and awkward. Would have been nice if they just built the damn thing inside the body.
The III seems to be an evolution but only a small one, with small upgrades. Maybe the sensor will be a bit crisper than the II's?
But hey Mark, the viewfinder is said to be larger. That could be a plus making it worth the 8 grand
Ken Gehle
Atlanta
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I would say that even though we had the crappy firewire connection setup on the II, the tether option is now worse. Looks to me that it is USB like the 5D and that is limited to 16ft unless you drag around a battery powered hub. Either my tethered shooting days are over or I am now a wi-fi shooter (if the new wi-fi contraption works). The return of the 6 pin might have been nice.
They have a new wi-fi unit - still kind of big and awkward. Would have been nice if they just built the damn thing inside the body.
[a href=\"index.php?act=findpost&pid=134332\"][{POST_SNAPBACK}][/a]
The wireless unit that connects to the side support Wi-Fi and also standard Cat-5 Ethernet cabling - that latter should go 100ft and is cheaper than Firewire cables and should connect better with the body. As you point out it would be nice to have included this in the body itself, however, wireless technology is moving so fast that it may be more pragmatic to include it as an upgradable option.
Suggest you go for a MIMO Wireless-N access point/hub if you do decide to go wireless as this will give you better performance (work further from access point and also more reliable connections) than just a straight forward Wireless-G access point.
If you are working in a studio and have power to your lighting then you could always run Ethernet over the power lines and plug the camera (via the Wi-Fi adapter and Ethernet cable) into the power connectors. This would reduce cabling in the studio and provide fast reliable transmission.
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The III seems to be an evolution but only a small one, with small upgrades. Maybe the sensor will be a bit crisper than the II's?
But hey Mark, the viewfinder is said to be larger. That could be a plus making it worth the 8 grand
I'd say it's a very small evolution. I'd also say that they're not listening to "studio" photographers. At some point, Canon is just going to be Canon, and stick with that whole "35mm mindset". I guess that's their right. But it's laughable when they say that the "s" stands for "studio", and the tethering options are still so basic, especially after all the feedback they received.
I'll be sticking with Contax/Phase, thank you. You stick in the FW cable, and it's solid as a rock, and the tethering is effortless with CaptureOne, (unlike DPP).
I was just wishing for more, out of a supposed "pro/studio" solution.
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I was just wishing for more, out of a supposed "pro/studio" solution.
[a href=\"index.php?act=findpost&pid=134343\"][{POST_SNAPBACK}][/a]
I hear you. I feel the same.
Instead of improving the problem areas I think they took a side road which is not very practical for the folks who are shooting advertising or even just plain commercial work.
I just finished a 12 location in 14 days in 8 states shoot and other than Delta not flying my gear on one of the trips (plane was over the weight limit and they elected to leave my gear on the tarmac) the biggest issue was loosing the camera connection due to the dinky 4 pin connection on the camera. Also, the most recent version of DPP seems a bit more flacky - we have to restart it 3-4 times for it to get it in the right folder - didn't have this before.
I love being able to shot my jobs tethered with the II but the III doesn't look like it will be better in any way. Maybe I am wrong but it is bad enough when you shoot some stuff and the camera says "busy" and you know those images are gone forever. Now we only have wi-fi and that really scares me. (Sorry, USB is not an option at 5 meters or using a hub to extend to a longer length).
Who were you listening to Canon?
Ken Gehle
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"picture quality thrashes a P25 back and except in very bright lights is generally better than a P45 because of the low low noise and amazing colour/dynamic range. There is phenomenal shadow and highlight detail in the raw files, photographers using the 1Ds3 are creating HDR 'looks' by processing the same RAW file 3 or 4 times to bring our different exposure"
I can believe better than P25, but thrashes? Also, I'll need to see "generally better than the P45" to believe it.
Skeptical in California,
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Just a note, a little OT, but:
Michael doesn't state that the new Canon 40D has weather proofing, which it does, on his news post about the new cameras.
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The 40D has weather proofing for the battery and CF storage locations only (different than the 1-series, wihch is more comprehensive). But sure it's welcome nonetheless.
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And this (for what it's worth, as there is no attribution):
We've had some more direct comments (thanks) on the performance of 1Ds Mk3 models in the studio
"picture quality thrashes a P25 back and except in very bright lights is generally better than a P45 because of the low low noise and amazing colour/dynamic range. There is phenomenal shadow and highlight detail in the raw files, photographers using the 1Ds3 are creating HDR 'looks' by processing the same RAW file 3 or 4 times to bring our different exposure"
[a href=\"index.php?act=findpost&pid=134251\"][{POST_SNAPBACK}][/a]
I'd say the same if I were working for Canon marketing.
Cheers,
Bernard
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Yeah, rather than build huge conflicting, vindictive, mis-informed guess-threads, can we keep the discussions to what is really known or can be validated? Of course then the entertainment factor flies out the window .
I guess I must be a sucker - I see lots of nice improvements over my 1Ds2 I'll be happy to shell $8K for, which I need to start saving for, again. Most of my previous 1Ds3 stash recently went to a bunch of Contax N lenses with full-blown EOS conversion, as I got bored waiting. I for one am glad for the 3-month warning ...
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sorry, I started a new thread with the post I was going to put here...
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Does current line of EF Lenses have enough of resolving power for the 22mp 1Ds Mk III, or we need new/third party lenses?
Regards
Caracalla
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Does current line of EF Lenses have enough of resolving power for the 22mp 1Ds Mk III, or we need new/third party lenses?
Regards
Caracalla
[a href=\"index.php?act=findpost&pid=134458\"][{POST_SNAPBACK}][/a]
Many a Canon shooter had doubts about the ability of the L lenses to tap into the potential of the 1ds2 sensor already... more pixels (and perhaps sharper pixels) isn't going to help.
Regards,
Bernard
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Many a Canon shooter had doubts about the ability of the L lenses to tap into the potential of the 1ds2 sensor already... more pixels (and perhaps sharper pixels) isn't going to help.
Regards,
Bernard
[a href=\"index.php?act=findpost&pid=134459\"][{POST_SNAPBACK}][/a]
Yes and no. I know that for example the longer primes and Zoom lenses are brilliant and will have no problems at all. i.e. 70-200f4, 85, 135, 200, 300, 400, 500 and 600
The problem will be more around 50 downwards and here I have my own solution. I have my 24-105 which peformes quite good (Ok, it's also my third copy), and than I have the 24TSE which is nice. In addition if I need something really wide I will use my Leica R19, which is superb. Alltogether I think I will not have any problems at all, because I prefer to shoot the longer end with my Canons and leave the shorter to my M8 which handels them already better.
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Yes and no. I know that for example the longer primes and Zoom lenses are brilliant and will have no problems at all. i.e. 70-200f4, 85, 135, 200, 300, 400, 500 and 600
[a href=\"index.php?act=findpost&pid=134469\"][{POST_SNAPBACK}][/a]
But thats not an excuse! Just because there are many lenses that will perform good with the new 1DsMkIII dos not help. As long as there exists some lenses that is not up to the standard of the new camera the release of the camera is wasted and a step in the wrong direction for the industry. You may not enjoy better images with just few handfuls of lenses.¹
Regards,
Ronny
¹ But why is it so? The images from a MkIII wit a crappy lens is not going to be worse that an image from a MkII with the same lens...
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As long as there exists some lenses that is not up to the standard of the new camera the release of the camera is wasted and a step in the wrong direction for the industry.
[a href=\"index.php?act=findpost&pid=134473\"][{POST_SNAPBACK}][/a]
Sorry don't agree. The reality of the situation (for all manufacturers) is that the majority of their existing lens ranges were designed back in film days, and thus (with some notable exceptions) are lacking in performance with high end digital sensors now (or almost now) available. And as much as we would like it, it is unreasonable to expect a manufacturer to completely revamp their entire lens range over night - or even over a year or two. Apart from the physical resources, and sheer time required, most lenses, certainly the professional ones, are made in batches and thus there could be several years worth of stock to be sold before the next production run. Of course they could just dump that stock but would you be willing to pay for that loss with a hefty extra increase in the price of the replacement digital lens?
As it now stands there are quite a few L lenses that I assume will give the best possible results with a 21.1MP sensor. For some these will be enough. Otherwise it is a matter of either "putting up with" less than 100% results with existing, not as well performing, lenses (be very interesting to see what results the new DPP lens correction software provides) and/or wait for Canon to develop new digital lenses (which they have said they need to do) such as the 14 f2.8L II. Or use 3rd party lenses.
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There's no need to speculate on what sort of resolution improvement a 21-22mp 1Ds3 will produce, compared with the 1Ds2. Those who own both a 1Ds2 and 20D (or 30D) could take various test shots using the same lens with both cameras and demonstrate the improvement.
I would predict there will be a marginal, but noticeable increase in resolution over the cropped area defined by the 20D with all good lenses, but little or no improvement, with most lenses, in the areas not covered by the 20D field of view.
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There's no need to speculate on what sort of resolution improvement a 21-22mp 1Ds3 will produce, compared with the 1Ds2.
[a href=\"index.php?act=findpost&pid=134480\"][{POST_SNAPBACK}][/a]
And not everyone will be trading up from a 1Ds MkII. In my case it will be from a 1D MkII. I'm sure I'll be noticing quite a difference!
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Sorry don't agree.
[a href=\"index.php?act=findpost&pid=134479\"][{POST_SNAPBACK}][/a]
It's was supposed to be a friendly humorous remark to those that feel that it's no point in a camera with more resolution.
I agree with you, and as long as there are lenses that can utilize the camera today I see the new camera as a good thing. Better to have a camera that is better than many lenses, than a camera limited to an average lens. At least you have option of getting a superior image.
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I hear you. I feel the same.
Instead of improving the problem areas I think they took a side road which is not very practical for the folks who are shooting advertising or even just plain commercial work.
I just finished a 12 location in 14 days in 8 states shoot and other than Delta not flying my gear on one of the trips (plane was over the weight limit and they elected to leave my gear on the tarmac) the biggest issue was loosing the camera connection due to the dinky 4 pin connection on the camera. Also, the most recent version of DPP seems a bit more flacky - we have to restart it 3-4 times for it to get it in the right folder - didn't have this before.
I love being able to shot my jobs tethered with the II but the III doesn't look like it will be better in any way. Maybe I am wrong but it is bad enough when you shoot some stuff and the camera says "busy" and you know those images are gone forever. Now we only have wi-fi and that really scares me. (Sorry, USB is not an option at 5 meters or using a hub to extend to a longer length).
Who were you listening to Canon?
Ken Gehle
[a href=\"index.php?act=findpost&pid=134348\"][{POST_SNAPBACK}][/a]
I guess everyones mileage will vary. I shoot the MKII in the studio every day, since it was introduced. Its ALWAYS tethered with C1 at the backend. In all that time I can't remember the last time I lost a connection, and thats with a 30' cable. A simple velcro cable tie from the firewire to the camera strap eliminates any problems with the cable pulling out. I just had the 4 pin in the camera replaced, not because it had failed but because it seemed loose and it was time. Did I like the 6 pin better? Sure. Does the 4 pin work? Yep.
I've also been using the 5d with a 30' usb. Moving to the MKIII will not be a problem.
Anyone have a MF solution that gives me a 12mm look?
YMMV.
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I just had the 4 pin in the camera replaced, not because it had failed but because it seemed loose and it was time. Did I like the 6 pin better? Sure. Does the 4 pin work? Yep.
I love the human brain's uncanny ability to justify bad design.
Doesn't it just give you a warm and fuzzy feeling to insert that FW cable, and you feel the entire FW port move up and down vertically, due to the constant downward pressure from a heavy 30' cable, on a tiny 4-pin receptor?
I even added that black rubber "collar" from FotoCare, to somewhat prop up the downward force on the cable, and then added quite a bit of paper tape to lock in the cable into the camera. It made for a very elegant presentation -- blue painters tape wrapped all over the 1ds2 body.
Three years of bitching to Canon about the firewire connection, and we get USB-2. You gotta love it. Yeah, they're listening.
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I love the human brain's uncanny ability to justify bad design.
Doesn't it just give you a warm and fuzzy feeling to insert that FW cable, and you feel the entire FW port move up and down vertically, due to the constant downward pressure
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=134489\")
As I said [a href=\"http://luminous-landscape.com/forum/index.php?showtopic=18997]elsewhere[/url], the USB on the 5D has proven to be VASTLY more reliable than the lame firewire in the 1Ds2/1D2 cameras in my studio. I have had to send the 1Ds2/1D2 cameras back for firewire port repair many, many times in the past few couple years.
The 5D's USB ports have been rock solid and plenty fast (I have 3 bodies which get daily tethered use) -- although they still need to be gaffered to the vertical grip so the cable does not come out...
Therefore I much prefer the USB option. Especially because in practice, the USB does not seem slower than Canon's firewire...
I.M.O.
-ron
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I love the human brain's uncanny ability to justify bad design.
Doesn't it just give you a warm and fuzzy feeling to insert that FW cable, and you feel the entire FW port move up and down vertically, due to the constant downward pressure from a heavy 30' cable, on a tiny 4-pin receptor?
I even added that black rubber "collar" from FotoCare, to somewhat prop up the downward force on the cable, and then added quite a bit of paper tape to lock in the cable into the camera. It made for a very elegant presentation -- blue painters tape wrapped all over the 1ds2 body.
Three years of bitching to Canon about the firewire connection, and we get USB-2. You gotta love it. Yeah, they're listening.
[a href=\"index.php?act=findpost&pid=134489\"][{POST_SNAPBACK}][/a]
I did not justify it, I just learned to deal with it. Thats how life works. You make the best of things because nothing made by man will ever be perfect nor suit everyone.
My solution works great, and has since the start. And it looks quite reasonable. I'm sorry you could not find another solution besides tape, but they are out there.
I don't know why you are complaining Mark. You have stated your huge dislike of the format, so why complain? Because Canon did not build you a MF camera? Exactly what were the chances YOU would have switched? About zero?
You don't like the camera or Canon? Fine. I don't really care. The MKII has made me a lot of money and has been as solid as a rock. Show me ANY MF solution that will fill my needs and I'll buy it. Problem is that solution does not exist.
USB works great, si I don't see the problem. But then again I tend not to complain about the little stuff, life is way too short.
Pardon me but I have to get back to work. I have a studio full of product and my poor old MKII with the 4 pin connection is about to make me some more money.
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I guess everyones mileage will vary. I shoot the MKII in the studio every day, since it was introduced. Its ALWAYS tethered with C1 at the backend. In all that time I can't remember the last time I lost a connection, and thats with a 30' cable. A simple velcro cable tie from the firewire to the camera strap eliminates any problems with the cable pulling out. I just had the 4 pin in the camera replaced, not because it had failed but because it seemed loose and it was time. Did I like the 6 pin better? Sure. Does the 4 pin work? Yep.
I've also been using the 5d with a 30' usb. Moving to the MKIII will not be a problem.
Anyone have a MF solution that gives me a 12mm look?
YMMV.
[a href=\"index.php?act=findpost&pid=134485\"][{POST_SNAPBACK}][/a]
OK, works for you. I shoot entirely on location and try to do it tethered because the ADs love the show of seeing the shots go by on a 22" LCD. I use a tethergrip to hold the cable and even gaffers tape. What a pain. All they had to do was bring back the 6 pin connector!
So tell me more about a 30' USB cable. How do you do it?
Ken Gehle
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So tell me more about a 30' USB cable. How do you do it?
Nah, go for the wireless transmission. Screw the cables. I was hoping for FW800, but I guess Canon thinks wireless is more productive or has a potentially longer life span when looking into future generations. What I couldn't find in any info was the time of transmission for a 22MP raw file.
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Nah, go for the wireless transmission. Screw the cables. I was hoping for FW800, but I guess Canon thinks wireless is more productive or has a potentially longer life span when looking into future generations. What I couldn't find in any info was the time of transmission for a 22MP raw file.
[a href=\"index.php?act=findpost&pid=134565\"][{POST_SNAPBACK}][/a]
As long as it works I will. I do have more fear about sending my pixs through the air then down a cable though. Plus having a Plan B (a cable) is always a good thing when the Murph God is in.
Ken Gehle
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As long as it works I will. I do have more fear about sending my pixs through the air then down a cable though. Plus have a Plan B (a cable) is always a good thing when the Murph God is in.
I live with Murphy and he sez use a Cat5 ethernet cable for backup.
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If you want added Stress, (as if there isn't enough in a bigger job), I'll try to find that link to SportsShooters, where that newspaper guy rigged up that WIFI unit, covering the red carpet event at the Academy Awards. (Hint: I think it involved plywood and at least one entire roll of duct tape).
No thanks to WIFI, if there's money on the table. You guys go first, and then call us. I've seen enough episodes of Star Trek, thank you.
And separate from this, where is a built-in Pocket Wizard Transmitter? Canon claims how revolutionary their camera is; why does it still require a cell phone mounted on the hot shoe?
My Bitch List is getting longer. Three years of quality feedback related to the 1ds2 to that Chuck Westfall guy, direct from studio photographers, and all we get is an upgraded 1DMIII, with a few more pixels and a slightly larger LCD?
All I can say is, Phase and Leaf must be breathing a sigh of relief.
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OK, works for you. I shoot entirely on location and try to do it tethered because the ADs love the show of seeing the shots go by on a 22" LCD. I use a tethergrip to hold the cable and even gaffers tape. What a pain. All they had to do was bring back the 6 pin connector!
So tell me more about a 30' USB cable. How do you do it?
Ken Gehle
[a href=\"index.php?act=findpost&pid=134547\"][{POST_SNAPBACK}][/a]
Here's how....if you don't use a neckstrack then put a split ring in its place. Simple, cost effective and it works.
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Some people will just never be happy .... That is a plain fact.
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Here's how....if you don't use a neckstrack then put a split ring in its place. Simple, cost effective and it works.
[a href=\"index.php?act=findpost&pid=134672\"][{POST_SNAPBACK}][/a]
I understand that. What I asked was how you got a 30' USB cable for your 5D. USB is good only to 5m (16 feet) and no longer without a hub. You might want to edit your post to correct your statement error
Going back to my complaint (and I believe Mark Tucker's as well) is why a professional camera uses a 4 pin dinky connecter when there is a 6 pin that does the job soooo much better. You never heard complaints about the firewire port on the original 1Ds, did you? The 4 pin sucks big time and now we have a USB connector that, IMO, sucks even more. I shot with a 15' FW until I went to 25' and there is a difference. I am not a lock down guy and I move a bit but I like to shoot tethered and the ADs like it too. So do the assistants (no card handling).
Jeez all, this is an $8,000.00 camera with a .25 connector. What the heck are they thinking? Mark Tucker is right about you all making mental compromise.
Will I get the III? You bet I will because of the improvements. Will I be happy with the continued short falls? Hell no. Will I bitch about it? Right now I am but I will find a work around. That is what we call "gaffers tape: the work around".
Ken Gehle
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I understand that. What I asked was how you got a 30' USB cable for your 5D. USB is good only to 5m (16 feet) and no longer without a hub. You might want to edit your post to correct your statement error
Going back to my complaint (and I believe Mark Tucker's as well) is why a professional camera uses a 4 pin dinky connecter when there is a 6 pin that does the job soooo much better. You never heard complaints about the firewire port on the original 1Ds, did you? The 4 pin sucks big time and now we have a USB connector that, IMO, sucks even more. I shot with a 15' FW until I went to 25' and there is a difference. I am not a lock down guy and I move a bit but I like to shoot tethered and the ADs like it too. So do the assistants (no card handling).
Jeez all, this is an $8,000.00 camera with a .25 connector. What the heck are they thinking? Mark Tucker is right about you all making mental compromise.
Will I get the III? You bet I will because of the improvements. Will I be happy with the continued short falls? Hell no. Will I bitch about it? Right now I am but I will find a work around. That is what we call "gaffers tape: the work around".
Ken Gehle
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My original statement stands as written. I have 3-10' usb cables connected together....no hub and it works perfectly. Specs be danged, it works.
Why am I making a mental compromise? This is how the camera comes. I CAN'T CHANGE IT. Either I find a way to work with it or not. Its that simple. We are supposed to be pro's, either we figure out a way or move on. I choose not to move on.
I still have my original 1Ds, as I do my 500c/m's (flaws and all) my Sinars and Horsemans (flaws and all) and so what. NONE of them are perfect. Who cares you either make it work or you don't.
You can complain until the cows come home but this is the bottom line. You vote with your pocketbook. You don't like the camera, just don't purchase it.
Bitching is pointless and changes nothing at this point.
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Why am I making a mental compromise? This is how the camera comes. I CAN'T CHANGE IT. Either I find a way to work with it or not. Its that simple. We are supposed to be pro's, either we figure out a way or move on. I choose not to move on.
You can complain until the cows come home but this is the bottom line. You vote with your pocketbook. You don't like the camera, just don't purchase it.
Bitching is pointless and changes nothing at this point.
[a href=\"index.php?act=findpost&pid=134689\"][{POST_SNAPBACK}][/a]
Craig,
You sound like John Gray or something. You gotta lighten up. Bitching is fun, and sometimes, it actually accomplishes something. If we hadn't bitched about the four-pin connector, we'd still have that; now at least we have USB-2; (let's just see how long it takes for it to also slip right out of the socket as well). But let's hope it's a micro-improvement over the four-pin. I just wonder how USB-2 is going to deal with these larger 21MP files, once people start shooting at five frames per second, tethered. Hmm. That's a lot of data to cram through a slow pipeline.
Also, you can't "vote with your pocketbook" either, as you imply. At some point, you've got to buy a camera, because if you voted with your pocketbook, you'd never buy any of these cameras. None of them are perfect. So you buy what you buy, and try to get them to improve the next model. Just singing the Happy Canon Campfire Song is not going to get you a better camera. If nobody ever bitched, we'd still be driving AMC Gremlins.
Actually, all of this is a ploy; I'm just trying to build up the hype around the "much better" Phase/Contax solution, and then, come early December, dump them all and buy a couple of IDsIII bodies, and make my life easy again. So play along with me, won't you?
Seriously, the reason that I'm complaining is simply because the Canon is such a great camera, and because it's so much easier to hit "good color" with, than the Phase. At least for me, in the way I shoot. If anyone is shooting very controlled situations; ie ProFotos in a studio, with no balanced window ambient, at F16, the Phase backs blow the Canons out of the water. No doubt. But where I get into trouble is when I start shooting outside, in shady conditions, or less than optimum silked daylight; that's where the Phase starts looking funky, and the Canon would continue to shine brightly, especially if the Canon files are run in DPP. DPP is King, if you're after great color. DPP has the Secret Sauce.
I want my life (and post-production) to be easier, and with Canon it is, and with Phase it's not. Simply, medium format post production is just a bear. So secretly, I really wanted this new Canon to be a Medium Format Killer, so I could get my life back, but so far, I'm not convinced. In the 1ds3, I don't see an Advertising/Studio Camera. I just see a jacked-up, hopped-up Sports Camera. (Who the hell shoots five frames per second in the studio, anyway? Seriously). I'd gladly give them back four frames per second out of those five, in exchange for a solid, fast, dependable way to tether for advertising. And also tethering software that was professional grade, instead of that consumer EOS Utility stuff that they could care less about. Clients have seen the light, and they're not going back. Once you shoot tethered, you're screwed, because they'll always ask for tethered from then on.
Anyway, glad you're making money with your 1ds2. I've made a good bit with mine, too. I'd love nothing more than to have two 1ds3 bodies, three lenses, and just walk on the airplane with nothing more than that. Maybe it'll happen, but maybe it won't. December will be an interesting month.
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Hi Mark,
I haven't read much about the new Canon WiFi gizmo ... is the concern here that the WiFi solution would be either too unreliable or too slow to use for "tethered" shooting with the 1Ds III and its big files?
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My original statement stands as written. I have 3-10' usb cables connected together....no hub and it works perfectly. Specs be danged, it works.
[a href=\"index.php?act=findpost&pid=134689\"][{POST_SNAPBACK}][/a]
Well that was the answer that I was originally asking for. Thanks.
Ken Gehle
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After reading the info on this Canon site (http://web.canon.jp/imaging/wft/wft-e2/index.html), it is clear that Canon is promoting an FTP/PTP/HTTP protocol for data transfer & distribution as better than a wired camera. Wireless/LAN looks to provide a much wider solution set to getting images to a computer for client review, assistant culling or even posting on a gallery web site.
Ken has mentioned that his workflow is to have the AD watch the images as they pop up on a tethered computer screen. With Canon's wireless (or wired via ethernet) data transfer, it'd be possible for multiple computers in multiple locations to see images as they are transferred to a hard drive.
In theory this sounds great. Many of my clients are out of town and presumably this would allow them to participate in the shoot from their desk, hundreds of miles away. In practice, well, we'll see.
One clear downside is the cost. It's another $1K for this little attachment.
I think it was a good solution to make this device an external attachment, though. We will not be stuck on IEEE802.11g and IEEE802.11b wireless protocol forever, and this will hopefully allow multiple models of cameras to stay current with file transfer & distribution.
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I think it was a good solution to make this device an external attachment, though. We will not be stuck on IEEE802.11g and IEEE802.11b wireless protocol forever, and this will hopefully allow multiple models of cameras to stay current with file transfer & distribution.
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That sounds nice, but they're more likely to upgrade the unit alongside new models like they did with the first one.
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That sounds nice, but they're more likely to upgrade the unit alongside new models like they did with the first one.
You're probably right. Revenue streams are not kind to old models.
My hope (and assumption) is that they'll upgrade the unit as wireless technology changes, not as camera models change. But in the case of this 1Ds3, it has a new connection form factor to accomodate locking the WFT unit to the camera.
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Well spent an enjoyable few hours this evening at the opening of the new premisses of my pro photo dealer of choice.
Was able to have a brief handle (fondle?) of the only 1Ds MkIII in the country (in fact I was informed I was the first to fire a shot with it as it had only been unpacked scant seconds before). My first impression was how big the viewfinder is. Considerably bigger than the MkII or 5D. The 14mm II was very solid and obviously gave a fantastic field of view. This was a pre-production sample and had no card fitted, so no actual images were taken but I was told to expect demo bodies in about 4 weeks so will do a few comparison pics with the lenses I want to test then.
So I then wondered down and had a play with the Leaf AFi pre production body! Beautifully put together and wonderfully ergonomic. The swivelling grip is a masterstroke! The auto focus is usefully fast. The only awkward thing I noticed was that the battery on the 75S back protruded well below the base of the body, so it couldn't sit flat.
Sorry I can't report any on any details of note like file quality etc etc but it wasn't possible at this occasion. Still it was a pretty interesting night.
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Actually, all of this is a ploy; I'm just trying to build up the hype around the "much better" Phase/Contax solution, and then, come early December, dump them all and buy a couple of IDsIII bodies, and make my life easy again. So play along with me, won't you?
[a href=\"index.php?act=findpost&pid=134698\"][{POST_SNAPBACK}][/a]
Ok Mark, I'll play. Here' the deal and you touched on it as I did. Nothings perfect but you have to buys something. As I stated in the initial post everyone's mileage will vary. Your needs are totally different than mine. I'm just some hick from nowhere Indiana who shoots boats and RV's mostly in my studio but sometimes on location or in action situations. FOR ME the current 1Ds works pretty good, much better than the original 1Ds, the Nikon D100 I had before it and the Betterlight back before that. Is it a perfect tool, nope, Does it cover most of my bases? Yes. When I have big day the studo I might make 4-5 images and save 20 frames.
When I purchased it I voted with my pocketbook. Despite the faults it was the best choice for me.
Your needs are quite different. You work high pressure location shoots with AD's over your shoulder and when things screw up you look bad. I understand that. But you voted with your pocketbook and ended up with your Contax/Phase system. Faults and all it serves your needs better than anything else at the moment.
So all of that brings us to the new Canon. My point is that bitching now, no matter how much fun it can be is really counter productive...at this point. The camera is set in stone, it's what it is going to be. Going DPrewiew on it changes nothing. Oh I can understand the need to vent at Canon becuase they did get lots of great feedback from the people who earn a living using their cameras. But Canon ( like most companies ) is going to build what they want to build. None of the complaining really changed anything. You think it got us a usb connector instead of the 4pin. I disagree. I don't think we had anything to do with it. In my opinion Canon simply brought the MKIII into line with the rest of their cameras by going to USB. Firewire is a dying system.... just look at the new Nikon D3.
Canon in their wisdom, or lack of it depending on where you sit, made a camera that covers a lot of ground. You are willing for example to give up frame rate. I sometimes need the framerate, like when I'm shooting boats from a helicopter. Everyones mileage will vary.
Now the New Canon looks to be a nice piece, but I think I'm going to vote with my pocketbook and pass. I'm stepping off the upgrade bus for a while because I'm really tired of buying new cameras, new computers and new software. I plan on keeping my life simple...I'm not spending any more time ( for the near term) learning new stuff. I'm just going to make images.
[/rant off.]
BTW, I really do admire the work that you do. Your pocketbook voting (lots of it...bless you) has been very instructional. Thanks for sharing the results.
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I'm stepping off the upgrade bus for a while because I'm really tired of buying new cameras, new computers and new software. I plan on keeping my life simple...I'm not spending any more time ( for the near term) learning new stuff. I'm just going to make images.
Now, right there are words of wisdom. Many of the people that I compare notes with are over the intitial craziness of all this transition, and now, they too want their life back.
There are a million factors in choice. Most of them due to shooting style. That's why, clearly, there is no one "best camera system".
Time will tell how good the new Canon is. If I was a betting man, I'd say it will turn out to be pretty good. Did I want a Canon version of a Medium Format camera, instead of just another revision in the Mark whatever series? Absolutely, yes. But it didn't happen. Canon is a 35 mindset, and that's probably not going to change.
All I want is for the USB or FW, or whatever, to not fall out of the side of the camera while I'm shooting. That's not too much to ask. It needs to lock in there, (and ideally, not with duct tape). I remember, years and years ago, Nikon used to make this "threaded sync cord" that would literally SCREW INTO THE BODY. That's what we need for tethering. Give it a "quick release" in the middle of the cable f you want, in case a makeup artist trips over the cord, similar to the MagSafe adaptor in the MacBook, but at least let it screw into the body and LOCK.
I'm just jealous because the Canon is so easy to use, and so easy to hit good color. The Phase is like that Seinfeld episode, where Jerry was dating that girl that looked good in some light, but looked awful in other light. If you're shooting Phase with strobe, it rocks. But if you get out in crazy ambient conditions, you can have some color crossovers and bleeds, to fight. The Canon is just "pretty brown skin tones". But I'm a mediumformat guy; not a 35 guy; thus, I complain.
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But I'm a mediumformat guy; not a 35 guy; thus, I complain.
[a href=\"index.php?act=findpost&pid=135261\"][{POST_SNAPBACK}][/a]
Imagine my shock at shooting everything with a 35mm camera after years and years of shooting mostly 4x5 and 8x10...oh sure there was some Hassy stuff for the postages stamp sized feature shots...but the bulk was from a really big camera. So I feel some of your pain.
Sometimes I think we are all getting lost in this digital crap. We think it's making our life hard and we forget the crap we used to put up with. Remember those tiny polaroids? Taking boxes of film to the lab ... running clips....WAITING to see the outcome? Delivering film and HOPING the agency would fix in retouching all the things that could not be fixed on set? Or just retouching in general pre-computer. No auto focus...let alone 45 points. Working under a darkcloth on a 90 degree sunny day? A "buffer depth" of 24 frames? The list goes on and on.
For all the crap and all the time we now spend in front of a computer screen I don't every want to go back.
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For all the crap and all the time we now spend in front of a computer screen I don't every want to go back.
[{POST_SNAPBACK}][/a] (http://index.php?act=findpost&pid=135292\")
Yes, I too think let me off this upgrade train.
But then I think about it, and I can't complain too much when the files do get easier to work with, better colors, larger viewfinders, more dynamic range, etc. as the upgrades go marching by.
And I agree, we put up with much less crap now than back in the film days.
But I find I am shooting more and more polaroid, just for kicks, when the shoots finish. And that's when everyone on the crew really comes to life. Comparably, watching the shots go by on the LCD is a snooze.
[a href=\"http://www.ronpurdy.com/polaroids1/polaroids1.html]http://www.ronpurdy.com/polaroids1/polaroids1.html[/url]
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For all the crap and all the time we now spend in front of a computer screen I don't every want to go back.
Craig, I agree with your posts here. The digital treadmill is a drag, and some customers don't want to pay fees that reflect the latest technology. (Here's a great read about this conundrum). (http://www.editorialphoto.com/outreachep/digital_manifesto.asp)
I usually leapfrog every software version and even so, am enticed by what the Next Big Camera can provide.
Will I buy into a 1Ds3? Probably, but only if I can get that wireless thingamajiggy (http://www.canon.co.jp/imaging/wft/wft-e2/index.html) to work.
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Canon White Paper now available.
http://cpn.canon-europe.com/files/news/pro...-Whitepaper.pdf (http://cpn.canon-europe.com/files/news/pro_lineup/EOS-1DsMkIII-Whitepaper.pdf)
The larger VF image area is well shown. Also some VERY interesting details of what the Lens Correction features of DPP entail.
The gauntlet is thrown down to the MF back manuafacturers:
"...Consider, too, the question of continuity, a matter of considerable relevance when the
purchase of an $8,000-or- more camera is on the table. Where the EOS-1Ds MarkIII is
completely compatible with virtually all vast EOS System, and can be expected to
remain compatible—and supported—for decades to come (note the current software
support for the D6000 and D2000), today’s medium format digital backs often do not fit
even recent products from the same manufacturer. Will a newly-purchased component
be compatible with same-brand software and hardware in the not-too-distant future?
Betting on, and investing in, the EOS-1DsMarkIII isa sure thing."
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The PDF looks nice, but where is the description of the Highlight Tone priority?? That is, IMO, the most promising feature.
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The PDF looks nice, but where is the description of the Highlight Tone priority?? That is, IMO, the most promising feature.
[a href=\"index.php?act=findpost&pid=135797\"][{POST_SNAPBACK}][/a]
It is the same as in the 1D MkIII AFAIK. Look for the White Paper or reviews on that.
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It is the same as in the 1D MkIII AFAIK. Look for the White Paper or reviews on that.
Considering it has comparisons to the 1D MkIII and 1Ds MkII, kind of doubtful, no?
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Considering it has comparisons to the 1D MkIII and 1Ds MkII, kind of doubtful, no?
[a href=\"index.php?act=findpost&pid=135834\"][{POST_SNAPBACK}][/a]
No. The comparisons between the 1D MkIII & 1Ds MkIII, which indicate the differences between the two, make no mention of the Highlight Tone function - hence you can only assume there are no differences. And given the common use of 14 bit AD conversion, dual Digic III and DPP why would one expect any difference?
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can anyone find where you can download DPP 3.2 with its lens abberation correction functions ?
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It is the same as in the 1D MkIII AFAIK. Look for the White Paper or reviews on that.
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Anyone know how many extra stops of D.R. we are talking about here?
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Anyone know how many extra stops of D.R. we are talking about here?
[a href=\"index.php?act=findpost&pid=135952\"][{POST_SNAPBACK}][/a]
From the white paper (p12):
(…) At low ISO speeds, the dynamic range is about the same as that of the EOS-1Ds Mark II.
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From the white paper (p12):
(…) At low ISO speeds, the dynamic range is about the same as that of the EOS-1Ds Mark II.
[a href=\"index.php?act=findpost&pid=135956\"][{POST_SNAPBACK}][/a]
Right, but the Highlight Prio. does not work at low ISOs, only 200 and up, correct? So how's the D.R. at 200 and up?
Just wondering if someone with the 1D3 in hand might shed some light on perceived increases in D.R.
Thanks.
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I remember, years and years ago, Nikon used to make this "threaded sync cord" that would literally SCREW INTO THE BODY. That's what we need for tethering. Give it a "quick release" in the middle of the cable f you want, in case a makeup artist trips over the cord, similar to the MagSafe adaptor in the MacBook, but at least let it screw into the body and LOCK.
Nikon's still have that, BTW. You can use a standard PC synch cord or buy/build a treaded one.
There's absolutely no reason that the camera companies couldn't do something like that for data transfer/tethering, and I emailed both Canon and Nikon with that very suggestion a few years ago because I got sick of using photo tape to hold the tether cable in place.
All they have to do is provide a pigtail - a short cable with their proprietary camera jack on one end, and either USB or 1394 on the other. From there you'd run a standard cable to the computer. For extra security you could tape that connection, or they could supply both cords with a velcro strap that mates to the other side of the connector.
Frankly, USB or otherwise, I'm amazed that any camera is still using connecters that were made for computers, not cameras.
FWIW, USB2, if properly implemented (it rarely is) can transfer data at FW400 speeds. Case in point, the Lexar professional CF card readers. I have the USB version and a friend has the 1394 version, so we had a little drag race. The transfer times were too close to mention. Then we switched readers and he discovered that his aging Powerbook had a pretty slow USB2 interface, while either reader ran at the same speed on my desktop PC. BTW, their semi-pro USB2 card reader, the little gray one with the cover that flips down, runs at half the speed of their bigger Pro readers. Both say USB 2.0 on them, one runs twice as fast.
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Some user info via http://www.northlight-images.co.uk/Canon_1DS_MkIII.html (http://www.northlight-images.co.uk/Canon_1DS_MkIII.html)
"The firmware is still being tweaked, and testers get regular visits from a Canon rep to install new firmware and take detailed reports on problems/issues/performance. Some of the comments I've received (in no particular order)
Liveview focussing works a treat - people doing product work are loving it
Good lenses are showing their benefits, but others are not as bad as some had expected
The highlight tone priority is ideal for anyone working outside on sunny days :-)
People are using DPP to process the RAW files for the time being, although many are converting to DNG for further work.
Some of the amount of extra dynamic range that can be pulled out of the 14 bit files still needs some software tricks, but expect some pretty interesting results when the various specialist raw processing software vendors get to work.
Overall colour accuracy is a definite improvement over the 1Ds2, particularly noticeable in reds/skintones
The amount of fine detail visible suggests that a relatively weak (compared to 1Ds2) AA filter is in use. The improvement looks more than would be expected from the 16->21 MP increase.
The improved viewfinder really shows if you have to go back to using a 1Ds2
At A3 sizes(and above) prints and large glossy magazine images look noticeably better than the MK2
High ISO noise performance is much better (than the Mk2) with less chroma noise and better detail.
At 100 ISO there has been the suggestion of a bit more shadow noise - not visible in real work, and perhaps more suited to 'Angels on a head of a pin' arguments on DPR ;-)
Unless you are working in a very well lit studio environment the P25 MF back is easily matched, and a P45 can be bested if the lighting is not optimal."