PuppyDigs

Most of my clones have been fine—STK, Wasabi, etc.—just not as long lasting as the OEM versions. Out the gate, I had a new STK clone overheat and swell up in an Olympus Pen. It was really tough getting out! Sine 2003, not a single of my OEM batteries have gone thermal.

If you tested them and the results were good, that's all that matters. I've owned the Extender 1.4X since 1995 and it works perfectly with my newer L zooms and telephotos so I was never inclined to upgrade to the II and III updates. I seem to recall, the II update had the same optical design but slightly improved coating and flocking to reduce reflections from the shinny CMOS on digital DSLRs. With that said, my old 300 4L and 1.4X are pretty flare and ghosting proof, even with Hawaiian sunsets. Not sure about the III update but I'm sure there are minor tweaks to be had if you need to squeeze out every last detail for huge prints.

If you shoot video, the T6s has movie servo, allowing continuous focusing and tracking. Also works in LV. As a frequent YouTuber self shooter, movie servo made my life a lot easier. Prior to movie servo I prefocused on a broomstick here I planned to sit and play guitar. Now the camera locks on my face like glue and I can move around without worrying about losing focus.

Most of my lenses need some AFMA and that's one of the first things I check with new gear. Typically AFMA is in the +-2 to 5 range. Even +-2 makes a visible difference with large aperture lenses.

Yep, it only opens my old 20D and 40D files. The 10D thumbnails show but can't be opened.

I'm impressed, it opens my old 10D, 20D and 40D RAW files. And the default profiles are very good. Much better than I was getting from ACR conversions. Canon finally fixed the magenta cast in 40D files!

<blockquote> <p>A second and more minor issue is that when I plugged my SD card into my card reader it appeared on the monitor screen but the Canon utility that usually appears to let me download the pictures never came up. I recently updated my iMac to OS X 10.12.1 Sierra from 10.9.5. Do I need anew utility version or what?</p> </blockquote> <p>I think Apple is expecting you to use the Photos app for uploads (I disabled it on my Mac). However, you probably need to Canon.com and update to the greatest version of EOS Utility. Canon may need a few months to catch up to the latest OS update. Canon now requires inputting the serial number from your camera to start the download. Once installed, I think you have to set a preference on EOS Utility to automatically open when you insert your card.</p> <p>Or you could just drag 'n drop the file from your SD card to a chosen folder on your Mac. That's my preferred method.</p>

<p>I owned a 17-55 IS USM for years and sold it after buying an 18-135 IS Nano-USM last Spring. I don't know how similar the Nano-USM is optically to the older 18-135 but I find my 18-135 and 17-55 to be very close in terms of sharpness. At F8 there is certainly little to no difference. However, the 18-135 is a lot more flare resistant than the 17-55. On the other hand, the 17-55 has less barrel distortion at the wide end. So take your pick. However, if you need to shoot at F2.8 a lot, the choice is clear. Otherwise, it comes down to preferred zoom range and weight (the 18-135 being lighter).</p>

<p>80D video can be displayed on iOS devices via Wi-Fi during recording so I'm sure the 5D4 will equal or one up it. Does eat batteries like crazy...</p>

<p>I jerk, slide and sway my cameras all the time while shooting stills and video and the cameras and lenses are fine. You shouldn't have any problems as long as your rig doesn't hit the deck or fall in the drink.</p>

<p>I like the 10-18 IS STM: optically as good as my 10-22 USM but half the price. The down side is it has a really slow aperture and flimsy build. However, often you can get a reburb with full warranty at CanonDirect for under two Benjamins, so that almost makes up for those shortcomings.</p>

<p>I too live in the tropics and I don't think heat or humidity are the direct causes of finishes turning to goo. It's probably something on your hands interacting with the finish. I've never than a lens barrel go to goo but several of the grips on my cameras went bad. Basically my sweat acted as a solvent. </p>

<p>Usually Canon refuses to repair salt water damage since they can't guarantee their repairs (due to the evasive nature of salt water damage. If you have electrical contact cleaner laying around, zap some on the switch and work it. I've had a few come back to life after the contact cleaner treatment.</p>

<p>It's usually faster to set HSS on the flash unit itself. My 430EX II and 220EX both have a physical switch on the back panel (H with electric bolt icon).</p>

<p>If it works, you might get $75 for it if lucky. I couldn't sell a 2011 Olympus Pen for $75 with extra OEM battery. I figured technology was too old and nobody wanted it. No problem selling my newer cameras.</p>

<p>I still shoot with both my 5D2 and 6D. In good light there is no difference between the two cameras. Once you hit ISO 1600 the 6D leaves the 5D2 in the dust in terms of image quality. ISO 12800 on the 6D is amazingly good and ideal for theatre and bar venues. Not so much on the 5D2. Also, if you ever need to lift shadows, the 6D has another stop or two more in reserve and no strange patterned artifacts. While the overall AF performance is similar, the 6D's center point is stellar and will actually lock focus in places you need ISO 12800. </p> <p>The 6D also has some modern features the 5D2 lacks: Wi-Fi for use with Canon Connect iOS/Droid apps and GPS. If I was starting from scratch, I'd buy two 6Ds rather than using a 5D2 and 6D.</p>

<p>I use a Tascam 60D audio recorder and KM-184 mics and 70D/80D for most of my music videos. The 70D internal audio is pretty poor (noisy and compressed). However, the Tascam TM-2X stereo mic hits that mark and sounds similar to the build-in mics on the Tascam DR-40 or DR 100 MKII. You still have the hiss from the 70D's cheap preamps but the stereo fidelity and imaging will be much better. I use the TN-2X for my guide tracks, making the audio/video sync in PP a little easier.</p> <p>I just shot this clip of myself playing a few days ago using a pair of KM-184:</p> <p>https://youtu.be/P9jZOhgJjKs</p>

<p>Examine it with a loupe and penlight. As for dust in lenses, most of mine arrived factory fresh with some dust and gathers more with use (especially zooms). But, yeah, that 55-250 STM is surprisingly sharp. I does flare a bit with sunsets but thats the only strike against it. I just bought one during a refurb sale at CanonDirect for $108 and it appears as new. My wife liked it so I had to buy a second one so I could actually use it. Plus, of all my lenses, it goes works the best with beer.<br> <img src="http://www.fraryguitar.com/downtown_images/FAT_TIRE_4818sign.jpg" alt="" /></p>

<p>I shoot a lot of music videos using a 6D, 5D2 and 80D and have never seen or heard of that artifact before. It is alarming! My cameras often roll for hours and get really warm albeit I normally shoot long sessions in an air conditioned studio or stage. I've been using SanDisk Extreme Pro cards in a Lexar Pro reader without incident for the past year or so. I had a reader go wacko once and corrupt files as I uploaded so you might check both your cards and readers.</p> <p>Try posting about this on a video forum as most discussions here are about stills.</p>

<p>It also helps to set the Pic Style to Neutral so your Histogram reflects exposure of the individual channels more accurately. Although the red channel is easier to blow out than the other channels, the 6D's red channel is better controlled than some of the prior EOS I owned. For me, the red channel was only problematic when I shot red and orange flowers so I use a wee bit of EC and eye the Histogram regularly. Human skin has a lot of reddish tones and desaturating the red channel even a little makes them resemble the undead...</p>

<p>I used a 40D for years and, while AF is far from state of the art, it rarely failed me for static subjects in any light I could hand hold at ISO 1600. I recall it did fine in dark European churches and shooting music arts on dim stages for me. AI servo wasn't that great. I'm guessing there's something electrically or mechanically wrong with your 40D and it has nothing to do with FW.</p> <p>It is an old camera (circa 2007) and it's possible the AF subsystem is dirty. Light travels through a half-silvered reflex mirror into a system of smaller mirrors and lenses and, finally, is projected onto an AF sensor in the bottom of the mirror box. It's not uncommon with older cameras to have enough dust on one or more components of the AF subsystem to funk it up. Check it out and maybe get it cleaned. </p>

<blockquote> <p>If it's too dark for a fast prime and ISO 1250, it's too dark for interesting photos.</p> </blockquote> <p>Haha, that was my motto when I shot film back in the day. I spend a lot of time shooting in theaters and, believe me, a flash or tripod will get you tossed very quickly. ISO12800 is amazing on the 6D and with a wee bit of NR looks great:<br> <img src="http://www.fraryguitar.com/act_dance_music_images/Liliu_0462sign.jpg" alt="" /></p>

<p>The 6D is king for budget low light in Canonland. The 6D's ISO 12800 is better than ISO 1600 on the 5D! And the center AF point will actually lock in near cave light. I'm guessing the 6D is near it's run and it will be heavily discounted. Or wait for a refurb sale at CanonDirect. I'm seen the 6D below $1000 several times this past year.</p>

<p>Use a solid tripod and lens quiver be gone! ;-)</p>

<p>Why not AFMA the 11-24 manually using Dot-tune method or by comparing contrast photo images with phase shift? I do it all the time and it only takes 15 or 20 minutes per lens.</p>