I got mine this morning and went around shooting and after I handed it off to a friend he tried to take a pic and got an Error 80 =/ blah not even a day into owning it...
I don't know specifics on what he did but I pulled the battery and it reset fine but is anyone else having any problems so far?
canonical wrote:
Actually paulfeng is a lot closer than you are with his guess.
My biggest question would be.....why...a guy like you....with a name like that?? Something don't compute in that equation !
For you who adds nothing, actually negative to the discussion to even hint at brainiac (Richard) in a negative way. Go away. For me personally, you are hidden from my view.
dwweiche wrote:
Cameron, you're killing me. Every time I turn around, you're posting that same link all over the forums!
Dwweiche -- sorry about that. I actually think it's only in two threads? I only make reference to the original thread when I see a similar post (here) raise what I believe to be a related issue/question/concern.
I'm just trying to raise the awareness of critical focusing for DOF, and piecing together how we've evolved from depth-of-field preview, to DEP, and now to Live View.
And also trying to understand the workflow that others use to achieve critical focusing for DOF.
Usually you have gradually increasing lightloss in the viewfinder from F/4 and downwards... A viewfinder will not give you shallower depth of field than roughly F/2.8 unless you make the viewfinder VERY dark by making the matte screen VERY matte.
Most of the time you cannot see any light decrease at all, or at least VERY little if you hit "DoF-preview" on the camera - stopping down a F/1.4 lens to F/2. Almost none of this light is transmitted to the viewfinder clear aperture. Stopping down to F/2.8 from F/1.4 usually gives you about half a stop of light loss in the viewfinder when it "should" be two whole stops.
And as Dof is linearly dependent on light amount, there's a "minimum" DoF in the viewfinder...
Anyone more technically inclined can see it as if the two apertures (lens aperture and viewfinder aperture) does not transmit all light to each other. The exact surface diffusion on the matte screen determines how much of the light that's passed through the entire system, from lens front to VF eyepiece. A very matte screen will have less system "loss" going from F/4 to F/1.4, but will on the other hand be very much darker with a F/4 lens. Nowadays, manufacturers usually prioritize having a "bright" F/4 image, and this means that the losses going from F/4 to F/1.4 is higher.
