Is the Canon 6D Under-Exposing? UPDATE: No, It’s Not.

Is the Canon 6D Under-Exposing? UPDATE: No, It’s Not.

Final Update and Winners of the BorrowLenses.com Gift Certificate, Friday, December 7, 2012 11:35 AM Okay, we found the cause of the D600 bodies’ overexposure. Turns out, it WAS damage, not a defect. In the damaged bodies, the little prong that actually pushes the aperture closed was bent, as you can see in the image below. The top one is of one of the damaged D600’s, while the bottom is of an undamaged D7000. No idea what caused this, but there you have it. Winners of the $50 BorrowLenses.com Gift Certificate: K.G. Wuensch, who left the suggestion that led to our discovery of the cause of the overexposure on the D600 bodies is, unfortunately, not based in the U.S., and so is unable to use the certificate I promised him. He has, instead, requested that his prize be entered into the pool for the general drawing. So we now have two gift certificates to give out. I entered all the commenters’ names into a list randomizer at random.org and the two names at the top are our two winners. Congratulations to David Johnson and Michael Clark! Please email your contact info to sohail.mamdani at borrowlenses dot com, so I can send them to you. Once again, thanks to everyone for your fantastic support and feedback.  Update Thursday, December 6, 2012 2:11 PM Thanks to a suggestion from one of the folks who left a comment below, K.G.Wuensch, we found the issue that led to the big discrepancy in the images you saw from my test, and the issue turned out to be with the D600, not the 6D. Take a look at these images. Both...
Building on the Sony NEX System

Building on the Sony NEX System

Sony’s NEX cameras have been taking the mirror less camera market by storm of late, coming out with models that repeatedly and substantially improve on their predecessors. And, as these models have evolved, the number – and quality – of add-ons for them have increased as well. In this article, we’ll take a look at a few ways of building on the NEX series of cameras – which now include some fantastic video-specific offerings from Sony as well. First, let’s clear one thing up. Sony’s NEX series of cameras, which include the NEX–5, NEX–6, and NEX–7, as well as the VG-series of video cameras, use a lens mount called the “E-Mount”. Sony also has a line of popular DSLRs, which use the older “A-Mount” system they inherited when they bought Minolta. Sony has made a number of fantastic lenses for the E-Mount, including the 16–50mm f/3.5–5.6 OSS and the 10–18 f/4 OSS lens, both of which offer built-in Optical SteadyShot, Sony’s name for their image stabilization technology. The stable of E-Mount lenses isn’t filled out just yet. There are a few missing holes, mainly in the area of constant-aperture zooms and longer lenses. However, this isn’t as noticeable an issue as you might think, as Sony – and a few third-party vendors – have come up with a first-rate way to compensate for the lack of a full selection of lenses. They have done so with a number of adapters that allow you to use Canon, Nikon, and Sony A-Mount adapters with the NEX system, and in this article, we’ll take a look at some of them. From Sony...
Get the Missing Manual for Light

Get the Missing Manual for Light

 With autumn upon us, daylight hours are fewer and further between. I don’t stop shooting (later sunrises mean I can actually drag myself out of bed at a better hour), but I do take more time to catch up on my reading. Accordingly, I spend some time to put together a list of the best photography books that I want to go through each year and will bring you reviews of the ones I liked the most. My (virtual) bookshelf is full of titles I’ve read or plan to read for reviewing or for personal edification. Some, like Brian Smith’s book on portraiture, which I reviewed earlier this week, are for personal edification and review. Some, like Light, Science, and Magic, are on there because the subject matter is of interest. And some are on there because I’ll read even an obituary by one of these authors. Authors like Joe McNally, for example, whose books like Sketching Light and The Moment it Clicks make for fantastic and entertaining reading. Others write books so chock full of information that they become indispensable reference material that I find myself going to pretty often. My friend Syl Arena is an author and teacher who falls into the latter category, and his latest book, Lighting for Digital Photography: From Snapshots to Great Shots is something that I think should be more appropriately titled “Light: The Missing Manual”. This is Syl’s second book; the first, The Speedliter’s Handbook, is now considered to be a sort of bible for Canon Speedlites. It is easily THE definitive book on Canon’s small flashes, and Syl has carved out...
The Switch – Moving from Canon to Nikon, Part V

The Switch – Moving from Canon to Nikon, Part V

This is the conclusion of a 5-part series on an experimental switch from Canon to Nikon. Previously, in the Switch series: Part 1: I talk our marketing VP into letting me go Nikon for a while. Part 1.5: which was mislabeled Part 0.5, in which I gawk at a violin. Part II: The Nikon gets abusive. Part III: CLS starts to look pretty good. Part IV: In which I return to Canon for a spell I guess the big question on everyone’s mind is, “Did you switch or not?” Well, read on, gentle reader. I’ve been a Canon user for the majority of my life. Starting at age 8 with a tiny Canon film point-and-shoot, then to an AE-1 Program, then an A2 film body, followed by a G3 P&S, a Rebel XTi, a 7D and then a 5D Mark II, I’ve owned Canon gear all my life. The Glass I love Canon gear. The glass is varied and plentiful, from a crazy 1:5 Macro  (the MP-E 65mm) to a swift, fast, yet affordable 400mm f/5.6 lens for wildlife, to a fantastic 135mm f/2 portrait lens, Canon has glass for practically every occasion. Nikon, on the other hand, kind of falls behind in terms of having glass that I really do need/use from time to time. The lack of a solid 400mm-range lightweight telephoto is a real bummer, as is the lack of an ultra-wide-angle (17mm) tilt-shift lens. Speaking of the tilt-shift lenses, Nikon really does need to update their PC-E lenses to match Canon’s 17mm and 24mm lenses. The current 24mm PC-E lens from Nikon doesn’t do independent rotation...
The Switch – Moving from Canon to Nikon, Part III

The Switch – Moving from Canon to Nikon, Part III

This is Part III of a series on moving from an all-Canon setup to an all-Nikon setup for four weeks. Will I go back to Canon at the end of four weeks? I have no idea… Previously, in the Switch series: Part 1: I talk our marketing VP into letting me go Nikon for a while. Part 1.5: which was mislabeled Part 0.5, in which I gawk at a violin. Part II: The Nikon gets abusive. In this part, I’m going to focus on just one thing: Nikon’s external flash system. CLS, you’re pretty cool Nikon’s CLS, or Creative Lighting System, is pretty well-known for its simplicity and reliability. On the Canon side, I’m used to working in ratios to set exposure between groups. This is a tad… unwieldy, to say the least. For example, if I want three groups for my external speedlites, I have to jump through some… convolutions. First, I have to have my friend Syl Arena’s book, The Speedliter’s Handbook handy, because Canon’s manual doesn’t really do even a halfway decent job of explaining this.  I have to set the ratio for my first two groups (A and B), then go into the master speedlite’s menu to set FEC (Flash Exposure Compensation) for my third light. Uh… wha? For a better explanation, go to page 144 of Syl’s Speedliter’s Handbook. With Nikon, on the other hand, you get this: This is if you’re using the on-board camera to control your remote speedlights (which are in two other groups, A and B). But you can, of course, control external speedlights with a master on-camera. Here’s what that...