I hesitated quite some time and, while I was waiting for its arrival, I admit I was somewhat frigthened that buying it may have been the biggest mistake of my photographer’s career. I am no longer frightened and I offer to share why using it was so positive.

Out of its price, it appears frighteningly heavy. I would not say this is a light lens (3.8kg, no less!) but it is astonishingly well balanced; Most probably because it has a large optical group in the back, near the camera body. I was coming from my habits with a Minolta 400mm f/4.5 (of -only- 1.8kg) which I learned to handle without a pod (to track fliying birds). With the help of the image stabilization (active in the viewfinder), I could shoot vultures and storks filling the frame at 400mm and smaller, faster birds (European rollers) in a wider frame. Just remember that you need some space around or the head of your neighbours will not appreciate your ample moves. And those who met me face-to-face understand that I am not really an athlete!

The zooming ring falls right in your hand and is ideally fluid with a nice run (not too short, not too long for my taste: A big 90° angle to go from 200mm to 400mm). The advantage of the integrated multiplier is resolutely recognizable. I thought that it could be a pleasant addition with a limited use. This is much more than that: The combination of the focal range and the multiplier teaches you to easily move from one range to the other. I quickly built a reflex of re-centering the focal range when reaching 400mm (one push of a finger on the multiplier lever and a small ring turn and I’m back at 400mm but in the middle of the available 280-560mm range; and back).

The materials used to build it are pleasant and re-assuring to handle (the sun visor is quite rigid even if clearly plastic-made). The case which -at launch time- have temporarily appeared as maybe a separate option was included. If it protects the lens well, removing it from the shipment would have reduced the price by nearly 600€ (at this level of price, every little thing could help) and moving this jewel around in so recognizable a Canon case would call for robbery. Who would be ready to put this case on the conveyor belt of an airport check-in counter? Seriously!

Speaking of image quality,I should let more competent people count lines, measure fringes, peep pixels and describe the technologies deployed by Canon. I can only say that all you se in the viewfinder looks great (f/4) but I would tell a little tale that I can share with you. Back from Kenya with plenty of photos (my finger is a bit heavy and the 70D continuous shooting is quite fast, even when I shoot completely immobile subjects). While reviewing the images, I tried to compare AF results of a leopard lying on the ground by merely zomming as much as possible on the eye of the animal and by checking the precision of the vein lines and iris colors.

Of course, this cannot stop you having fun shooting pictures (the leopard below really winked at me (you can see it by moving your mouse over the image – if you click, you will see his nice eye).

All in all, no regret. The Canon 200-400mm f/4 ext 1.4 is a sumptuous piece of optical photographic glass.

Of course, I must profusely thank Xtian for his considerable help.

Everything has already been told and written (you’ll find below a list of announcement papers in other blogs), except the price: A whooping 11769 US Dollar! Even a little higher than what was expected.

The first lenses will be available at the end of May, but Canon sources confirm that the quantity will be very limited at first.

• PetaPixel
• PhotoCritic
• Canon rumors
• DPreview

And the case is 649 US dollars more…

Since then, the rumors extended beyond reason. The lens was seen several times in the hands of various photographers (in particular, during some sports events around the world). But it seems that Canon evidenced a serious issue last Summer, significantly delaying the launch. It’s impossible to know what it was, but the reality is that the lens exists and that it’s not available yet.

Despite a formidable price (forecast to be further than 11000 US dollars, or more than 10000 euros), it attracted the interest of many people because it exhibits an extraordinary set of features (extraordinary, even in the world of mega-zooms):

1. A 200-400mm zoom lens with a f/4 aperture, or a diaphragm very wide open without reaching the ridiculous price and weight of a f/2.8 aperture.
2. This combination has already been visible in the Nikon lens line for several year in the guise of the AF-S Nikkor 200-400mm f/4G ED VR which is already in its second generation (mainly for an upgrade of the optical image stabilization).
3. Its wide aperture allows to use a focal multiplier; but this kind of tool is often unpleasant to handle. The new Canon integrates a 1.4x multiplier in an internal mechanism that appears like a sort of side bulbous bump. The multiplier, thus, becomes always available at the minuscule cost of pushing a lever with a finger to bring it into the optical path. Nothing could be simpler!

This last item is clearly the innovation that shocked people into attention and could have a nice future if Canon learns how to handle the small associated mechanism (they do have the needed knowledge, of course).

According to Canon Rumors (which previously distinguished itself with a number of unfounded rumors about this lens and about other Canon products), the official announcement will happen in a few days (15th of May?) with full availability around Fall 2013. Nothing is certain, but if you want some more to feed your impatience, there is an Australian photographer, Joshua Holko, who has been authorized to publish a video review of a few minutes.

Thanks to Luminous Landscape.

• Dust-proof and splash-proof construction
• High image quality close to fixed focal length lens
• Focus limiter button (to speed AF up)

Sigma also disclosed that they want this lens to be the first in a long (and new) line of “sports-oriented” lenses (read: lens line of big focal lengths, and possibly relatively inexpensive… for long lenses).

So, we will have to wait until we can see if these features are accompanied with excellent optical quality (or not) for this Sigma new 120-300mm f/2.8 DG OS HSM lens.

So, patience is still very necessary here (Canon is finishing the actual launch of its pro primes lenses) but early 2012…

Source: Egami, an excellent technology patent blog.

• EF 300mm f/2.8L IS II USM at $6,599, late August 2011
• EF 400mm f/2.8L IS II USM at $10,499, late August 2011
• EF 8-15mm f/4L Fisheye USM at $1,399, late July 2011
• EF 500mm f/4L IS II USM at $9,499, later in 2011
• EF 600mm f/4L IS II USM at $11,999, later in 2011

No information about the 200-400mm with 1.4x extender.

In parallel, Nikon is murmuring that they do not intend to launch any new pro tele-lens in 2011.

All this is obviously linked to the issues coming from the Japan earthquake (even if Canon is pushing forward with something that is really late already).

Up to now, Canon and Nikon have been using mobile optical elements in the lens in order to compensate for the hand-shake of the photographer. This way, even if you’re not very steady, your lens will compensate your moves.

But the problem with mechanical image stabilization is that it’s limited by mechanical inertia. You cannot shake a lens block as fast as you’d want. This is perfectly OK for photographer shake (usually under 10 Hz) and it is adequate for vibrations on a tripod (under 40-50 Hz) if you use a really light mobile element. But it becomes tough when you want to correct easily tripod vibrations or even in-vehicle vibrations (usually 10 Hz to 500 Hz).

This is where electro-optical elements come in (and it’s not to be understood as Electro-Optical System or EOS). This is an optical element whose optical index can change under electrical voltage. In the patent drawing, you’ll notice that eo1/eo2/3d is a flat element (pressed between two electrodes). The major advantage of electro-optical elements is that the maximum frequency may be very high (probably up into the 1000’s of Hz).

With this kind of technology (already seen in other less precise patents), Canon could be preparing a third-generation IS able to adapt easily to tripods (not only accepting to leave IS on when using the lens on a tripod, but correcting in-car or in-plane shakes).

Availability is still unclear seeing that the 300mm f/2.8 and the 400mm f/2.8 are late on the market and there is no promised availability date for these two new big white glass chunks.

Personal note: I start to wonder whether upgrading to a better Image Stabilization (IS) is worth it on lenses that cannot reasonably be handled without a tripod or some kind of fixed support… Image quality may be a better criteria to judge them.

Maybe Canon was inspired by the success (and the quality) of the Nikon 200-400mm f/4G ED AF-S VR II Nikkor. But obviously, Canon wanted to bring some more. We can expect exceptional glass quality, but they added an internal 1.4x extender, for free (Well! For the price, we’ll see what it will be). At the tip of your finger, you can increase the focal range up to 280-560mm (with some slightly reduced aperture as can be expected from all optical focal extenders).

The lens will also be built with weather-sealing to the highest Canon standards.

Obviously, this completely new addition to the L line of lenses at Canon will be simultaneously

1. an answer to the success of the equivalent tele-zoom from Nikon,
2. a good replacement to the 100-400mm f/5.6 who was becoming old (and not so wise),
3. a major technological improvement to kick the competition in the back.

I expect that many a user of the 100-400mm f/5.6 will be looking at it and all will depend on the price of this big lens.

Official launch will be made in 2011 (probably relatively late) and it will be possible to see a prototype on display at CP+, in Yokohama, Japan (from Feb 9 to Feb 12).

Amateur

The obvious priority of the amateur will be, for sure, to completely master his/her budget, while keeping in mind that wildlife photo requires a large focal length.

So, at Canon, there is no doubt about the lens to select; This will be the famous 100-400mm f/4-5,6 L IS USM. After all, for a price somewhat reasonable (taking into account the maximum focal length of 400mm), it is a good lens. Not perfect (it does not have the quality of the prime tele-lenses from the same brand and the maximum aperture has nothing to impress while still compatible with auto-focus), but terribly powerful (the focal length variation is done just by pushing the “pump“).

photo credit: damir.ME

I should also say that this the zoom that its owners love to hate. There are some real issues, but they can be handled:

• The useful “pump” earns its name when working in a dusty environment. The sensor will be copiously dusted even without removing the lens from the body.
• The stabilization is using Canon’s first generation technology. It would be good to upgrade it now. But Canon does not seem to be ready to prepare a version II yet.
• This is all the more annoying because this stabilization has the bad reputation of breaking down (too?) often. And Canon, considering that this is a wearing part, excludes it from the warranty and will charge more than 400€ for repair.
• Last but not least, this 100-400mm also has the bad fame of being subject to sample variation in quality. Some go to the extreme of recommending not to buy it online without a return warranty.

All in all, this is not a surprise that this lens is so frequently present in safari cars and in bird hideouts.

In order to provide an SLR body up to the task, I would suggest the Canon EOS 60D (rather than the Canon EOS 550D) for its reactivity, its well contained price and its weather resistance always needed for outside operation. Moreover, the 18MP sensor will be perfect to support significant re-framing without too much quality loss.

As you will also take some time to do some landscaping, put a 24-105mm f/4 IS USM in your bag. It will ideally complement the tele-zoom in terms of focal length and it has a nice price.

Enthusiast

However, the expert photographer will not be satisfied with the quality of the 100-400mm (it shows its limits on the EOS 7D). He/she will look at the prime lenses. Canon has a superb offering but you need to have very deep pockets and strong shoulders to haul most of the L-series gear. Otherwise, there are some possibilities to check thoroughly, tele-lenses that are no longer in the news but which kept there excellent image performance.

In order to keep a good coverage, I recommend to select the 300mm f/4 L IS USM and the 400mm f/5,6 L USM. These two lenses are often ignored (the 400mm because it does not have the image stabilization) but they have optimal quality). Their maximum aperture is nothing great but this won’t be an issue with the high sensitivity of today’s sensors. Moreover, they can accept the x1.4 focal multiplier (The focal doubler from Canon will be left alone because it degrades images too much).

Now, about the body, Canon has exactly what you need to power these tele-lenses: The Canon EOS 7D. It brought a clear progress for auto-focus and continuous shooting to a range that was in dire need compared to Nikon’s most recent offering. Its ability to produce good pictures at ISO 1600 will be appreciated to compensate for the limited aperture of the selected tele-lens primes.

The only thing left is to complement this with shorter focal length. The excellent 70-200mm f/2.8 IS II USM cannot be beaten. And we will add the nice EF-S 17-55mm f/2.8 IS USM which, while not part of the L series has the needed definition to correctly feed the strong needs of the Canon EOS 7D sensor.

There’s more: The advantage of slightly old tele-lenses is that they are relatively easy to find on the second-hand market (for example on eBay). This will reduce the tab too; It was already climbing quite high.

Pro

Now, we need to go from tabs to major invoices. The pro photographer has requirements widely over the limits of most wallets, even the more enthusiast ones. If you don’t want to be frightened here, you should no longer look at the prices: Most people will buy a car for the kind of prices we are going to reach to equip a pro wildlife photographer, but we cannot be greedy if we need top quality.

Canon L-series tele-lenses are at the top of the shopping list. First and foremost, the 300mm f/2,8 L IS USM is king here. It has been considered by most reviewers as simply the best lens ever. The price is scary but the weight is also frightening: 2.55 kg / 5.6 lb. Its successor is coming around the beginning of 2011, with a slightly lower weight but the cost will climb toward 7000€.

It will probably be associated to a superb 500mm f/4 L IS USM, despite being even heavier and more expensive; But you will feel like Michel and Christine Denis-Huot when they wander on the Masai Mara plains in Kenya.

The recommended body will also be a Canon EOS 7D (Yes! It has seduced many pros including those mentioned above). But if you are attracted to large sensors, a Canon EOS 5D MkII will add very pro video capture.

As before, the tele-lenses will be complemented with the 70-200mm f/2,8 L IS USM and EF-S 17-55mm f/2.8 IS USM.

But, if you went the Full Frame way, you’ll need some changes. To start with, the 17-55mm wide-angle zoom does not cover the field of the large sensor, it will be replaced with a EF 24-70mm f/2.8L USM. Then, if you don’t want to compromise quality with a x1.4 focal multier, the 300mm and 500mm will probably be replaced with a 400mm f/2,8 L IS USM and a 600mm f/4 L IS USM. But the weight is becoming really astounding (prohibitive?) and the tripod is now unavoidable.

Conclusion

It is easy to admit that the choice offered by the lens offering from Canon is impressive and this explains how anybody can find what they want, what they need, what they can pay.

photo © 2007 Paul Friel | more info(via: Wylio)

I’m nearly hoping that it will re-appear in the hands of one blogger for a full test to reveal the characteristics of this big chunk of pro glass.

Nevertheless, it will take us up to March 2011… We will have to be very patient.

Available in Canon and Nikon mounts at 1385€, from the first quarter of 2011.

This month of August 2010 is definitely rich in news of importance for the expert photographer. After Nikon and Sony, Canon is ready to present its new offering. Where Sony had 4 new DSLR cameras, Canon has one new Canon EOS 60D and 4 high-quality new lenses.

Canon EOS 60D

This is a very coveted market segment where Canon places its new Digital SLR photo camera, the EOS 60D. It comes right after the Canon EOS 50D and brings a nice set of improvements that will be welcomed by all Canon lovers.

More pixels (as usual) with an 18 mega-pixel APS-C CMOS sensor (borrowed to the Rebel T2i or EOS 550D), continuous shooting at 5.3 frames/s, a sensitivity range of ISO 100-6400 (extendable to ISO 12800) and the Canon EOS 7D metering system. These are systematic improvements to the existing EOS 50D. Canon is used to small increments in this camera range, but they decided to be more consistent than usual.

On the other side, to avoid direct competition with the EOS 7D, the new EOS 60D is actually a smaller, lighter body than the 50D, and it sports a new articulated tilt-and-swivel LCD screen.

In the same direction, we can no longer be surprised to see than the EOS 60D uses SD/SDHC/SDXC memory cards.

Main features:

• 18 MP CMOS sensor (APS-C)
• Digic 4
• Sensitivity: 100-6400 ISO (Hi: 12800 ISO)
• Exposure Metering: iFCL system (already used in the EOS 7D)
• Continuous shooting: 5.3 frames/s
• Viewfinder: 98% with 0,95x (interchangeable focusing glass)
• Full HD Video mode (from 1080p @ 30 fps) with manual control
• 9-point AF system (new system all Cross-type Sensors, all f/5.6 except for f/2.8 center)
• Improved Autofocus for Video capture and supporting LiveView mode
• LiveView mode
• In-camera RAW image processing: brightness, contrast, white balance or correct distortion or chromatic aberration
• Tilt-and-swivel 3″ LCD screen (1040k pixels)
• Integrated flash GN13 (able to control distant flashes)
• SD/SDHC/SDXC memory card slot
• 800g

This is nice to see Canon able to reposition the elements of its DSLR camera offering after the introduction of the EOS 7D which was temporarily reducing the readability of the whole range. Now, the EOS x0D (with 60D now) is clearly positioned between the 550D and the 7D. And it is a damn-good camera, too.

New lenses

EF 70-300mm f/4-5.6L IS USM

“Lightweight, compact and versatile”, this is a good description of a zoom lens that is covering an important product range.

A little more than 1000g and a price that should be accessible (let’s see when Canon gives a precise figure).

EF 8-15mm f/4L Fisheye USM

Simultaneously a zoom lens and a fisheye! And it is opening at f/4!

This lens will probably be expensive (the L marking and the red ring is a sure sign), but there is not much competition here.

EF 300mm f/2.8 L IS II USM

Even more expensive, here comes a prime lenses that needed a little refreshing:

Many a wildlife photographer will be interested by what is often considered as the last reasonable prime lens (wide opening and long focal length). AF speed and price will be a deciding factor (we have to already assume exceptionally good optics, in part due to the 2000 g of glass and metal).

EF 400mm f/2.8L IS II USM

You still have money and pro needs, here comes the heavy-weight:

I would even be frightened to ask for the price. The quality will probably be superlative and the weight is not for everybody: 3850 g.

That’s not all!

If you still don’t have enough (I know that the YLovePhoto readers are exceptionally demanding, but I hoped you would already be satisfied…), Canon has other ideas to appeal to you. They announced new focal extenders (EF 1.4x III & EF 2x III).

And they have been showing the first pictures of what will be the new 500mm and 600mm pro L tele-lenses (500mm F/4L IS II USM & 600mm F/4L IS II USM).

Did you notice? Canon will soon have fully renewed its range of white tele-lenses with the same high-level quality of optics, improved AF, and improved image stabilization. It’s time to go and attack a bank (your account will certainly not be enough).

An enormous overhaul of the Canon offering for pro and expert photographers.

Press Releases

Canon EOS 60D

Control, power, creativity – Canon empowers photographers to take the next step with the new EOS 60D

London, UK, 26th August 2010 – Canon today announces the latest addition to its world-famous EOS series of Digital SLR (DSLR) cameras – the new EOS 60D. Replacing the EOS 50D, the EOS 60D is designed for photographers who want to take their skills to the next level, offering high performance, a series of creative features, a Vari-angle LCD screen and enhanced ergonomics – empowering photography enthusiasts to capture outstanding stills and Full High Definition (HD) video for unique, creative results.

High speed, high resolution
With an 18 Megapixel APS-C sensor, the EOS 60D offers high levels of detail and a magnification of 1.6x the focal length of the lens to capture poster-size images in a variety of aspect ratios*1. Canon’s powerful DIGIC 4 technology rapidly processes image information captured from the CMOS sensor’s four-channel output, providing outstanding colour reproduction, as well as high-speed shooting at 5.3fps in bursts of 58 full-resolution JPEGs.

A standard ISO range of 100-6400 is extendable to 12800, providing smooth images with minimal noise in low light conditions. A 9-point, all cross-type autofocus (AF) system also provides swift and accurate focusing, with an extra-sensitive centre point for lenses faster than f/2.8, allowing photographers to artistically employ a shallow depth of field during portraiture or for more atmospheric shooting.

The EOS 60D features Canon’s iFCL metering system, first introduced with the acclaimed EOS 7D, with a 63-zone Dual-Layer sensor.  Information on subject location is gathered from the Auto Focus system, and is combined with colour and luminance readings for consistent accurate exposures whatever the situation. The Integrated Speedlite transmitter also provides in-camera control of multiple EX flash units for more creative lighting.

Shoot from all angles
A new 7.7cm (3.0”) Vari-angle wide LCD monitor features a 3:2 aspect ratio and a 1,040k dot resolution, providing added flexibility and allowing photographers to view their images in incredible detail. The Vari-angle wide LCD helps frame shots from difficult angles, and can be positioned with Live View enabled to achieve the desired composition if shooting isn’t possible using the viewfinder. The ability to capture wildlife portraits, overhead shots or ground-level photography is instantly enhanced, and the surface of the screen features an anti-reflective, water-repellent coating to protect the screen allows easy viewing in bright light and from a variety of angles.

Empowering creativity
A new Basic + function makes it easy for photographers to add their own creative touch to images without worrying about changing settings. Photographers can add ambiance to a scene by shooting according to lighting and scene type, with Portrait, Landscape, Close-Up, Sport, Night Snapshot or Creative AUTO modes all available. Different effects can be achieved by shooting with Basic + enhancements such as Daylight, Cloudy or Sunset or pre-set Picture Styles including Vivid, Soft, Warm or Monochrome.

Designed to provide power for those who wish to extend their creative vision, the EOS 60D features a host of new functions that help capture better images and in-camera effects to add an extra dimension. The powerful DIGIC 4 processor supports in-camera RAW image processing, allowing photographers to edit settings such as brightness, contrast, white balance or correct distortion or chromatic aberration. The edited image can then be resaved as a JPEG, ready to be printed or uploaded to a PC or the web.

For photographers who want to add post-production effects to their images without the need for expensive software, the EOS 60D also features a range of new creative filters that can be applied in-camera. Filters including Grainy B/W, Soft Focus, Toy Camera Effect and Miniature Effect provide images with a different feel, allowing photographers to create a themed collection – using Grainy B/W to give images a reportage style, for example – or easily smooth skin tone in portraits with Soft Focus.

EOS Movies: Full HD video with complete control
Offering photographers the freedom to go beyond stills, the EOS 60D captures 1920x1080p HD video with a variety of user-selectable frame rates, including 30, 25 and 24fps, as well as 720p video at 60 and 50fps. Movie Crop mode is also available, recording with the central 640×480 pixel area of the sensor to create an effective magnification of approximately seven times the focal length of the lens. 

Full manual control in Movie mode allows photographers to employ their own exposure and focus settings and take advantage of the effects achieved from Canon’s wide range of EF lenses. An external stereo microphone terminal and the ability to adjust sound recording level ensures the audio track recorded matches the visual quality of the video, capturing broadcast-quality sound.

For those who want to share images with friends and family, an integrated HDMI port is compatible with Consumer Electronics Control (HDMI-CEC), allowing video and images to be viewed on any compatible HD-ready TV and controlled via the TV remote.

Designed for flexibility
The EOS 60D features a completely redesigned body, combining an ergonomically enhanced, curved shape with a new button layout to make it quick and comfortable for photographers to change settings. Frequently used camera controls are grouped together for easy access, while the Quick Control Dial, Multi-controller and SET button have all been merged into one Multi Control Dial, enabling photographers to operate menus and enter settings quickly using their thumb. The mode dial also features a lock button, preventing unintentional changes to settings mid-shoot.

A dedicated Quick Control access button allows photographers to instantly reach the most common shooting settings and playback controls. Customising the functions of a number of buttons is also possible, allowing photographers to tailor the camera to suit their individual needs. To help achieve landscapes with perfectly level horizons, a horizontal Electronic Level can be displayed in the viewfinder or in Live View to assist composition and remove any potential need for post-production correction.

The EOS 60D is one of the latest Canon models to support high-capacity SDXC memory cards, providing up to 2TB of available space, allowing photographers to keep shooting HD video and full resolution RAW and JPEG stills without changing cards. For better management of larger image libraries on the camera, EOS 60D photographers can add a rating of 1 to 5 to their favourite images, allowing them to be easily located and viewed on-screen. Once transferred from the camera to a PC, the tags can also be viewed using a number of image editing and management programs, including Canon’s DPP software.

Share the moment
For photographers who want to transfer content wirelessly, the EOS 60D includes Eye-Fi connected functions*2. The EOS 60D features a dedicated Eye-Fi section in the User Interface allowing WiFi functionality to be turned off when not required to save battery life
EOS 60D features at a glance:

• 18 MP APS-C CMOS sensor
• Advanced creative features with Basic +
• Vari-angle 7.7cm (3.0”) 3:2 ratio LCD
• Full HD movies with manual control
• DIGIC 4
• ISO 100-6400, H:12800
• 5.3fps shooting for up to 58 JPEGs
• 9-point cross type AF System
• iFCL metering with 63-zone Dual-layer Sensor
• Integrated Speedlite transmitter
• In-camera RAW processing

*1 1:1, 16:9, 4:3 in addition to the standard 3:2 dimension
*2 This product is not guaranteed to support Eye-Fi card functions (including wireless transfer). In case of an issue with an Eye-Fi card, please check with the card manufacturer. Also note that approval is required to use Eye-Fi cards in many countries or regions. Without approval, use of the card is not permitted. If it is unclear whether the card has been approved for use in the area, please check with the card manufacturer

photo credit: nhuhoai

• Samsung NX line would receive 3 new lenses according to Korean DDaily: Pancake 20mm, 20-50mm zoom and Macro 60mm lens.
• Canon could come with 3 lenses of its own: Possibly including an EF 16-50 f/4L H-IS.
• Panasonic already announced a 3D lens for the micro-4/3 (Lumix G-series). It should be visible in September and available in December.
• Samyang (the new company you should consider for compatible lenses) is readying a 35mm f/1.4 with manual focus, for the Samsung NX line. 8mm (fisheye) and 85mm have been rumored too.
• Nikon is said to be preparing at least three lenses: Nikkor AF-S 85mm f/1.4G N, Nikkor 24-120 f/4 ED VR N, Nikkor 55-300mm f/4.5-5.6 ED VR DX. They could possibly add a 18-200mm f/5.6 or a 28-300mm f/5.6.
• Sony has already said that we will see a 500mm f/4 G (big grey tele-lens for rich pro photographers) and a wide-angle lens Zeiss Distagon T* 24 mm f/2 ZA SSM, but the rumour has that it will not be the only lenses for the Alpha series. Sony could also present one or two lenses for the NEX line, on top of the 18-200mm already promised for mid-September 2010.

Of course, those could be announced a little before the Photokina show (brands try to steal the wind from the other by moving ahead of time).

photo credit: davidgsteadman

When buying a photo camera, we often research in order to decide if this is the best camera, if its features will be goo enough, but will it be robust enough? Will it be useful or necessary to purchase a warranty contract extension? Will it fail very soon?

When somebody asks me these questions (and it happens quite often since I consider myself some kind of photography expert), I am usually without good answers; Nobody really speaks about this dirty little secret: Reliability of photo cameras is a taboo issue. In most cases, talking only happens for very extreme situations (I will not mention any pro camera events in the past few years). But on a daily basis, will my camera follow me everywhere? will it survive the bad treatment I will apply? Or will it fail at the sight of the first cloud (of dust or rain)? Preferably just a couple of days after the end of the warranty period?

photo credit: Orin Zebest

So, I decided to collect more than the usual information to try and answer these questions with more than: Entry-level cameras are too cheap to be robust, are less protected than pro cameras; And, mechanics fail more than electronics.

And, I found a few interesting articles with adequate documentation. Of course, they are the rightful product of the business of some shops repairing or renting equipment and accepting to share their data with us.

And I found interesting data. For example, there is nearly no information on photo cameras, or camera bodies. But SquareTrade published rather detailed report about the repairs they did in the recent years (though mostly on point-n-shoot cameras) with some frightfully clear conclusions, like:

• More than 10% of the cameras failed before 2 years
• The statistical projection tells that there are/will-be more than 15% failure within 3 years
• Accidents are a major cause for failure: 40% of cameras were broken in such a way; We are rougher than our cameras!
• The more expensive, the more robust
• For SLR cameras, Canon and Nikon go hand-in-hand

And to think that the failure rate of major brands is around 4% within two years for a camera whose price is nearing 1000€…

But, look at the graph below:

I would like to believe that you can extend these figures out of point-n-shoots and into the SLR market, but my own professional experience with quality and reliability management (in the automotive world, if you want to know) tells me that we should not even try.

On the opposite, I found additional data about interchangeable lenses to plug into our SLR cameras. Two studies from LensPlay and LensRentals bring some more light to the issue.

From LensPlay, hundreds of lenses and users have been analyzed: among the voluntary answers provided for Canon, Nikon, Pentax, Minolta/Sony, Tamron, Tokina and Sigma, only Minolta/Sony produced less than 200 answers (a pretty nice representation of the market).

LensRental gives us a finer status because they go down to a model-by-model level. So, it’s no longer necessary to compare brands, but you can get a good idea of which glass piece is more fragile or more sturdy than others, forgetting about the good (or bad) fames.

We also appreciate a lot some of the additional comments like:

• The super tele prime lenses (300mm f/2.8, 400mm f/2.8, 500mm f/4, 600mm f/4) from either Canon or Nikon are among the more reliable lenses (their simplicity is probably a good reason for such a score).
• The Sigma 120-400mm & 150-500mm had a 45% repair rate (as long as they were included in the LensRentals catalog of products).
• The Canon 50mm f/1.2 and Sigma 100-300mm are well under 10% (which is considered a good level in LensRentals)

Of course, these raw figures must be taken with a grain of salt: Rentals are often more mis-handled than bought parts, but the relative results are quite certainly representative of the underlying reality. And for example, the Canon 100-400mm seems to have an unfair bad fame about the reliability of its stabilization mechanism.

All in all, many reasons to treat your photo hardware with some care…

Sources:

• PetaPixel
• LensPlay
• LensRentals

Really smart thingy.

LV-W1 Wireless Live View Remote Control de PixelHK.

It works for Nikon and Canon cameras (two different models, though). You can buy it online from PhotoAddict.

Thanks to smithore.

The new features:

• Faster AutoFocus algorithms
• Min focusing distance: 1.2m
• Wider focusing ring
• Weather-sealing
• Magnesium allow barrel for a better reliability at the small cost of only 1490g weight

This small marvel does not have a price yet, and will only be available in April 2010.

But, apart from the rare occasions when you really need it, it’s too expensive for you and me. Why not build it yourself? Instructables does the demonstration with a Nikon D90, but it could be done with any other camera.

Canon adds to the EOS 7D a set of new lenses that will be attractive to enthusiast, expert and pro photographers:

• Canon EF-S 15-85mm f/3.5-5.6 IS USM
• Canon EF-S 18-135mm f/3.5-5.6 IS USM
• Canon EF 100mm F2.8L IS USM macro, with Hybrid IS system which is claimed to provide up to 2 stops stabilization at 1.0x magnification, and up to 4 stops at longer shooting distances.

But you can also find a similar tool at Olympus (and it takes into account the specificities of 4/3 sensor format, of course): Perfect Lens finder.

After a second half of 2009 where Nikon has been putting a lot of competitive pressure on Canon, here comes the new Canon dSLR photo camera: Canon EOS 500D (also known as Canon Rebel T1i) and, boy! did they react well.

The Canon EOS 500D is definitely a great step forward where Canon is redefining many features that will be included in entry-level SLR cameras. Essentially, the EOS 500D is including many features that were previously only expected from the models at EOS 50D level or similar mid-range models.

Canon felt the pressure from the Nikon D90; They answer with a camera which has been improved in many different aspects, starting with:

• Video capture up to 1080p
• Improved LCD screen, totally orientable
• More than 15MP sensor, a lot of pixels in a low-cost camera

This is so high an expectation, that you feel surprised not to find such features as per-lens micro-adjustments.

You may not be interested in switching to Canon from your current preferred brand, but all this is good news: All SLR cameras are going to be better just because the Canon EOS 500D is obviously an excellent product.

All the features of the Canon EOS 500D.

Also to be noticed: Canon is simultaneously introducing other related products: two photo printers PIXMA Pro9500 Mark II & PIXMA Pro9000 Mark II printing up to A3+ and a compact flash, Speedlite 270EX.

1. The Canon EOS 500D would be launched June 23,
2. A 30mm f/2 lens with an EF-S mount would be presented on the same day.

I recommend reading a nice little post titled “All lens tests are wrong” that concludes that the only good test for a lens is to use it during a full year.

Not wrong, but I still recommend to also check my list of web sites with photo lens reviews.