ture_p_lsson

<p>Many (most, I think) camera raw file formats have the structure of TIFF files, even though the actual data inside them is arranged in a non-standard way. It is quite likely that the recovery system recognized the TIFF structure of the file, but not the camera raw data, and thus decided to call the files ".TIF". With a bit of luck, simply renaming the files back to .CR2 should be sufficient.</p>

 

I tried a little while ago. Worked just fine.

There has been talk about handguns that will not fire unless they sense their rightful owner's hand on the grip. As I recall, the presumed users -- mostly law enforcement personnel -- were highly sceptical, as they did not fancy the idea of finding themselves in a tight spot with a gun that refused to work because their hands were too dirty...

 

Still, I suppose the same technology could be applied to camera bodies.

<p>I use the workflow outlined at <a href="http://www.lysator.liu.se/~ture/eos10d/">http://www.lysator.liu.se/~ture/eos10d/</a>.</p>

 

<p>That process is designed for batch processing in a Unix (Linux) environment, but all tools are available for Windows systems as well. Alternatively, you could just run the dcraw part of it, open the PPM file in Photoshop, assign the profile and then tweak levels and possibly curves to get the contrast right. I haven't actually tested this, though -- some people have reported problems using the profile with Photoshop, but I have not been able to check the details.</p>

One obvious method flaw is that you have very little control over the balancing between ambient light (which I assume to be incandescent or fluorescent) and the flash, or at least you have not described what measures you took to control it. In "green" mode, Canons tend to go for flash-only exposures, while in Av and Tv they will use ambient light as much as possible. In a mixed tungsten/flash situation, this would easily account for a noticable shift in image colour.

Several others have mentioned that the 8-bit quantization is mostly an effect of that being a convenient number given the way most computers are designed. However, there have been computer systems with other word lengths around -- for example, Digital Equipment (the remains of which is now part of HP), had a series of mainframes and minis with 36-bit words. If those had caught on, we might have had 9-bit channels in our images today. :)

I read somewhere that unexposed (but developed) slide (E6) film works pretty good as a makeshift IR-filter. This sounded like fun, so I tried it out. <a href="http://www.lysator.liu.se/~ture/infrared/">These images</a> were taken with an EOS10D and a 17-40/4 lens with two layers of Provia 400F stuck in the rear filter holder. Exposure 15-30 seconds (bring a tripod!) at f/11-f/16 (can't remember what ISO setting I used, though). The metering seemed confused; about three stops over the indicated exposure was usually about right (in practice, I just checked the histogram and re-shot if necessary). Out-of-camera images are pink and have very little contrast, so some postprocessing is necessary to get nice-looking results. Bright sunshine (the sort you'd normally stay away from because the light is too harsh) seems to give the best results.

I've been using my 10D profile (i.e, the one Arnaud pointed to) with Debian Woody, but I use the latest version of lcms (where tifficc comes from), not the Debian packaged one. I had some trouble with earlier versions; if I remember correctly they did something weird with the gamma values. The latest version (and a few versions back) seems not to have this problem (or I was doing something wrong with the older versions! :-) ).

 

The profile should work with Photoshop as well but, having no Photoshop license, I have not been able to verify that. It does work ok with Ed Hamrick's vuescan though, if anyone likes to use that.

Either Scandinavian Photo (www.scandinavianphoto.se) or Cyberphoto (www.cyberphoto.se); I can't remember now. In any case, the box, which looks very "canon-original-ish" clearly says "with Lens Case LP1219 and Lens Hood ET-67" on the outside.

Does the Ef 100/2.8 USM macro come in different packages on different markets? When I ordered mine (from a Swedish mail-order company) I decided to put off ordering the hood for a while and then, much to my surprise, found that the lens came with both hood and a soft storage pouch in the box.